Arundhati

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Posted by Hementh On 10:38 AM 0 comments

Arundhati (2009)

Posted by Hementh On 10:31 AM 0 comments

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Star Cast
Anushka, Sonu Sood, Deepak, Manorama, Shayaji Shinde, Satyanarayana Kaikala, Ahuti Prasad, Annapoorna, Subhashini, Chalapathi Rao



ARUNDHATI 2009 MOVIE REVIEW

Story

arundhati Arundhati (Anushka) belongs to Gadwal samsthanam in 1920’s. She is known for her bravery in saving the Samstanam by killing Pasupathi (Sonu Sood) an evildoer who creates ruckus in that place. She is praised as Jejemma (named after the famous Goddess in that area). But the spirit of Pasupathi haunts that place. Another girl is born in the same lineage after 3 generations and she is named as Arundhati. The spirit of Pasupati is after Arundhati to take the revenge. The rest of the story is all about how Arundhati puts an end to the evil spirit of Pasupathi.

Artists Performance

arundhatiAnushka: This is Anushka’s first performance oriented film and she is simply amazing in two roles. There are many shots in the film where the scenes from the present time will dissolve into to flashback and vice versa. These scenes are done on Anushka are crucial in the film. She has to show the variations between the old Arundhati and new Arundhati. She did exceptionally well with subtle yet impact creating performance. Shilpa and Sowmya dubbed the voices of old and new characters respectively.

arundhatiOthers: Sonu Sood looks deadly in the role of Aghora. His performance is excellent. A special mention should be given to P. Ravi Shankar who dubbed the voice of Sonu Sood. It is a great opportunity for any dubbing artists to get a role like this. The way he pronounces ‘ninnu vadalaa … vasta .. vasta’ is extremely good. Sayaji Shinde got a beautiful role ‘Talla Sayibu’ in this film. He is completely believable in that role. Manorama is very good. Deepak is nice. Satyanarayana and others are good. All other artists are appropriately cast in their roles.

Technical departments

arundhatiStory - screenplay - direction: Story of the film is good. Screenplay is very good. The beauty of this screenplay is about revealing the story and information in parts. There is always something to look forward to with anticipation in the film. It possesses one of the best screenplays in the recent times. Direction by Kodi Rama Krishna is very good. However, there are a couple of violent scenes that are disturbing to the family crowds. You can see a few Hollywood inspirations like Lord of the Rings, House of Flying Daggers (drum dance), Final Destination 1 (car - train episode). A couple of episodes (the thread of drum dance by the guru & establishing Arundhati as the warrior) should have been more effectively established.

arundhatiOther departments: Visual effects and graphics done by Rahul Nambiar are extraordinary. Cinematography by Senthil Kumar is excellent. Background music and rerecording by Koti is brilliant. The songs in the film go with the flow of narration. Art direction by Ashok is first-rate. Make-up work is good. Editing is smooth. Digital Ingredient (color grading) is very good. Production values of this film are extravagant.

arundhatiAnalysis: First half of the film is excellent and the second half is good. The plus points of the film are performances, screenplay, technical values and grandeur. The only negative point I see in this film is violence (got an A certificate from censors), which is very much required for the film to be effective. After a long time, I watched a Telugu film that has both content and technology rightly mixed to give a vibrant output. Arundhati is a film which you can proudly show it as a Telugu film to all your non-Telugu friends. And it will live up to the adjective of ‘Magnum Opus’. Two thumbs up to Shyam Prasad Reddy for making a brilliant film.

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Satyameva Jayathey (2009)

Posted by Hementh On 5:45 AM 0 comments
Satyameva Jayathey (2009) Review

Cast:
Rajashekar, Sanjana, Neetu Chandra, Sivaji, Sheril Pinto, Milind Soman and Others.
Action: Horseman Babu.
Cinematography: Loki-Vamshi.
Dialogues: Gangotri Viswanath-Writer Mohan.
Editing: Nandamuri Hari.
Music: S. Chinna.
Presenter: Siri Media.
Producer(s): Shivani-Shivatmika.
Direction: Jeevitha Rajashekar.
Banner: Shivani Shivatmika Movies.
Release Date: 13th February, 2009.

Rajashekar and SanjanaA remake is premised on the success of it's predecessor and if you have a film like Khakee which has great cast, terrific performances and sharp dialogues it indeed gets difficult to reproduce the same in vernacular language. However director Jeevitha makes a successful attempt in retaining the content, the feel, the suspense and the end product is satisfactory and doesn't not disappoint. It also vindicates 'Mahaa Star' Rajashekar's faith and fascination for remake subjects.

DCP Sathya (Rajashekar) is assigned a dangerous mission to transfer a dreaded terrorist Dr. Iqbal Ansari from Vizag to Hyderabad. One group of officers had already been blown to smithereens while Ansari makes a bid to escape. Sathya now leads a team and on his way back, another terrorist Milind Soman makes his job difficult. Why? What is the relationship between Ansari and Milind Soman is something that is ought to be watched. The suspense has been carefully handled and the story has been well executed.

Without rising above or deviating from the story, the audience gets a balanced dose of entertainment be it 'naach-gaana' or comedy with action superceding all elements. DCP Sathya (Rajashekar) is again the daring, dashing and no-nonsense encounter cop for whom duty is foremost priority. Even the womanizing, slightly compromising subordinate Sivaji learns a thing or two from him and gets a glorified role. Sivaji is endearing as Veera Pratap who falls for Sheril Pinto a social worker whom he meets in Vizag.

Sivaji and Sheril PintoSiva Reddy for the first time probably gets a meaty role of Satti a constable who sacrifices his life leaving behind a family who pines for him. His role shows how police spend most of the time away from home and have little time for sentiments, affection and relationships. It's a co-incidence that similar points have been dealt with in yesterday's release Siddam.

Neetu Chandra has a strange name Basara Paapa whose dream duet seems to be cut abruptly but is a stand out in her simple looks and performance, however her Telangana accent didn't gel with her role. Ditto with Sanjana who did not give away a native feel of a heroine. Most of the time in the film she is wide-eyed, grinning and makes one wonder why she is so full of beans. Sheril Pinto looks good and does a neat job with her part adding credibility to the story. Milind with his long hair and glasses makes us wonder if he is really needed for that role. Infact any one could have done it. An item number by Lara Dutta is horrendous.

There is a satire aimed at Chiranjeevi at the beginning of the story and ends without making much fuss. APSRTC Chairman M. Satyanarayana Rao plays a CM's role but his voice sounds as if it has been dubbed by Siva Reddy. The supporting cast like Ahuti Prasad, Sayaji Shinde, Surya, Jayanthi, Ramaprabha do their part well. For Rajashekar, this is another cakewalk an author-backed role, but his contact lenses appear slightly weird so does his make-up. Despite his towering performance, the rest of the characters make a sound impact be it Sivaji or Siva Reddy. The dubbing of Saikumar for Rajashekar did sound different, not very fine. It's a neatly knit story with a scope of entertaining all sections of the audience, is perfectly balanced.

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Delhi 6 (2009)

Posted by Hementh On 10:00 AM 0 comments
Delhi-6


By Taran Adarsh

Rating: *1/2

Rakeysh Omprakash Mehra thinks out of the box and it's more than evident now. First AKS, then RANG DE BASANTI, now Delhi 6.

A two-liner of the story may give you an impression that it's similar to UTV's earlier outing SWADES, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But Delhi 6 bites more than it can chew.

Set in old Delhi, the screenplay (Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey) takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot...

The two warring brothers (Om Puri, Pawan Malhotra) and the wall that divides the two; the daughter of the house (Sonam Kapoor) aspires to be an 'Indian Idol' contestant; a moneylender's (Prem Chopra) wife has an illicit relationship with one of his lecherous debtors (Cyrus Sahukar); an 'untouchable' (Divya Dutta) makes more sense than the so- called thekedaars of samaj; a friend of the family (Rishi Kapoor) has still not forgotten his first love (Tanvi Azmi).

Oh yes, there's also a 'Kaala Bandar' who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours.

But, alas, the problem is that barring a few individualistic sequences, you don't carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, 'Hey guys, you okay?'

Let's cut a long story short: Rakeysh Omprakash Mehra misses the bus this time.

Delhi 6 tells the story of a young American boy Roshan (Abhishek Bachchan) of Indian origin, who comes to India for the first time, to drop his ailing grandmother (Waheeda Rehman). She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in.

In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realize that how wrong he was.

The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu (Sonam Kapoor), who wants to break free from the typical Indian social structure, to whom Roshan is destined to lose his heart.

That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back.

Also, portions in the second hour, when a Baba (Akhilendra Mishra) triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality.

But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat.

Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is.

The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay.

Rakeysh's handling of the subject is exemplary at places. But the writing (faulty at times) as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems.

Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence (breath-taking) or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible!

Abhishek doesn't work. Also, his American accent looks fake. Sonam is likable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri (powerful), Pawan Malhotra (flawless), Vijay Raaz (tremendous), Deepak Dobriyal (genuine), Divya Dutta (admirable) and Cyrus Sahukar (likable) leave a mark.

Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan's presence in the penultimate minutes fails to evoke any reaction.

On the whole, Delhi 6 has a terribly boring beginning (first hour), an absorbing middle (second half) and a weak end (climax). At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend.

The popular music as also the fact that there's no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down!

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Siddham (2009)

Posted by Hementh On 11:45 AM 0 comments
JSiddham (2009) Review

Cast:
Jagapati Babu, Sindhu Menon, Mukul Dev, Subbaraju and Others.
Cinematography: Bharani K. Dharan.
Editing: Bhanoday.
Production Designer: Suman Varma.
Producer: Kiran Kumar Koneru.
Direction: JD Chakravarthy.
Banner: Shreya Productions.
Release Date: 12th February, 2009.

Jagapati Babu and Sindhu MenonIf you want to know what Asafoetida is called in Tamil, you must watch Siddam. If you want to know how Padma is spelt in Tamil you must watch Siddam. If it escapes your mind, never mind, there are other things to watch out in this film. Like Jagapati Babu. He is the heart and soul of the film and everything moves around him. He plays the role of encounter specialist Dayanand who knows the art of shooting and eliminating criminals but for whom the official and unofficial numbers don't really matter. It does matter for his colleague who envy's him for all the attention he is hogging from the media and wants to take his position some day.

In between we are treated to not so romantic flashback of this tough yet cool cop. We knew that director JD belongs to the RGV Factory, rehashes and recycles his guru's movies but being lazy is lot more criminal than being a terrorist, and covering up the laziness part by saying the romantic scenes were lifted from a film is least amusing. Also adding that this film is no way related to Ab Tak Chhappan smacks of selective amnesia.

Coming back to the story Jagapti with his crew cut, old fashioned cop glasses, and a controlled yet cool performance wows the audiences. He is behind the criminals from the first to the last, he finds time to shed a tear for his wife only after vanquishing the criminal. While an attempt is made to show that the stereotypes are defied, it just doesn't happen. Chakri makes a sincere effort to give an insight into the lives of the cops and he succeeds in it but somewhere at the end of the film you have a feeling that the film is good but something is missing. The only distinctive part of the film is Jagapati Babu, he plays a highly competitive cop in the crime branch in Hyderabad.

Jagapati BabuHe wants to cleanse the city from underworld and Mafia and he faces a tough competition at work. A new commissioner arrives and worsens the setting, he is hand in glove with criminals and his subordinate is plotting to overthrow him. A don talks to him as he is the cop's best friend from Dubai and becomes instrumental in Dayanand (Jagapati) becoming a fugitive. He resigns from his job to take revenge and moves to Dubai.

The settings and locations are realistic and visually, technically the film stands out. The background score adds a value. But even those who haven't watched the Hindi original will be least surprised with the script. It is more or less like cold, stale pizza that isn't tempting or exciting enough.

Sindhu Menon is interesting to watch, after seeing her shoot her trap off non-stop in Chandamama. This film is far better than previous JD Chakravarthy movies despite the clich├ęd plot but that doesn't mean you got to watch it, unless you are a Jagapati Babu fan.

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Veedu Mamoolodu Kadu (2008)

Posted by Hementh On 10:04 AM 0 comments
Rishi, Samrat, Gopika, Ali, Suman, Mumaith Khan, Abhinayasri

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Konchem Ishtam Konchem Kashtam (2009)

Posted by Hementh On 10:03 AM 0 comments

Film: Konchem Ishtam Konchem Kashtam
Rating: 3/5

Banner: Laxmi Narasimha Productions
Cast: Siddartha, Tamanna, Praash Raj,. TRamya Krishna, Venu Madhav, Brahmanandam, Nazar, Hema and others
Music: Shankar Ehasaan Loy
Cinematogrpahy: Vijay K Chander
Art: Chinna
Dialogues: Abburi Ravi
Screenplay: Deepak Raj
Editing: Srikar Prasad
Background score: Mani Sharma
Producer: Nallamalupu Bujji
Story, Direction: Kishore Kumar

Konchem Ishtam Konchem Kashtam, being called with pet title 'KIKK' has released today. The film has followed a typical muhurath by releasing at 1:01 PM instead of hitting screens at regular 11 AM show. Let us see how far that muhurath worked well with this movie and what the content is.

Story:
Geeta (Tamanna) is the daughter of a big man named Subrahmanyam (Nazar) in a village. She holds great love and affection for her father. And she happens to come to city for studying in a college. She stays with Gachibowli Diwakar and his wife (Brahmanandam and Hema). She develops good rapport with Prof Rajya Lakshmi (Ramya Krishna) in her college. Siddhu (Siddarth) is the son of Prof Rajya Lakshmi who leads the life of a play boy. Siddhu lives only with his mother for many years and his father Prakash Varma (Prakash Raj) lives abroad and earns big fame and money. He returns and the son Siddhu goes close to him. The friendship between son and father stands unique and strong. Siddhu loves Geeta as a routine treat in any film. But Subrahmanyam puts a condition that he would allow his daughter to marry Siddhu only when the parents of Siddhu are united. Then the real game starts for both Siddhu and Geeta to unite the separated couple. Whether they turned successful in that attempt becomes rest of the story.

Performances:
The film grooved in all major artistes and there is nothing less to speak about them.

Siddartha with his unique style of performance enticed again. Tamanna looked with lot of grace and beauty and has really stolen the show with her looks and expressions. She can stand as Madhuri Dixit in Tollywood if polished her performance and dance in a better way. She is gifted with elegance in screen presence.

Ramya Krishna is ok but she would have given own dubbing for her character. The voice used for her hasn't suited. Being a senior actress, she should at least try to use her own voice inspiring from young artistes like Mamata Mohandas.

Prakash Raj did his best in fatherly role and it is completely different from what he has shown in Bommarillu.

Music stands on the top of all faculties. All the songs received great applause in theatre. It is true that songs could pull the narration of this flick in interesting way. The screenplay is slow and there are some hiccups in editing. The cinematography is marvelous and the film teaches a lesson how the mood can be elevated while picturing songs. Dialogues by Abburi Ravi are good and interesting.

Direction is good but still needs to be gripping. On a whole seriousness and sentiment dominated. Comedy by Brahmanandam hasn't given the punch that has promised at the introduction of his role.

Analysis:
The film is an out and out family entertainer and the main essence is how a young couple attempts to unite a separated old couple for making their love win and take to the altar of marriage. The theme is in fact interesting. The initial few minutes during titles recall the film 'Sangamam' but later things proved to be unique.

First half sounded average while the later half in second part sounded racy and better. On a whole it has got the class-content and teaches a moral 'keep only love and shun anger from relationships'. That's good attempt which deserves a mention.

One really wishes that separating couples just with mere ego would learn lesson from this film.

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