___Hrithik Roshan____ John Abraham_____ Madhavan_____
___ Manoj Bajpai______Nana Patekar ____Rajesh Khanna __
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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.
Anushka: 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.
Others: 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.
Story - 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.
Other 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.
Analysis: 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.Watch Arundhati Online | Arundati (2009) Online | Download Arundhati Telugu Movie Free
By Taran Adarsh
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!