Sunday 26 June 2011
Wednesday 15 June 2011
sMthng diFFerent
I KnoW I'm WaitinG For NothinG!
But still i NeeD SumthinG!
I Wanna go back to those Laughs!
I Wanna go back to those Talks! ~~~~SleePleSs NighTs~~~~
----EndLeSs Dreamsz----
I'm sailing on the ocean of memories!
But i Don'T Wanna go Thr AnyMore! ****Million Little Stars****
I keep gng back over things you said!
But i Don'T Wanna go Thr AnyMore! ^^^StanDing in a CrowD^^^
!!!!ScreaMinG Your NamE!!!!
I don't wanna go thr anymore!
But I want you to chase after me,now!!!
But still i NeeD SumthinG!
I Wanna go back to those Laughs!
I Wanna go back to those Talks! ~~~~SleePleSs NighTs~~~~
----EndLeSs Dreamsz----
I'm sailing on the ocean of memories!
But i Don'T Wanna go Thr AnyMore! ****Million Little Stars****
I keep gng back over things you said!
But i Don'T Wanna go Thr AnyMore! ^^^StanDing in a CrowD^^^
!!!!ScreaMinG Your NamE!!!!
I don't wanna go thr anymore!
But I want you to chase after me,now!!!
Saturday 11 June 2011
Telugu film Badrinath doesn't have enough to engross the audiences. Post YOUR reviews here!
There were high expectations from Badrinath considering it was a Geeta
Arts production, directed by V V
Vinayak and starring Allu Arjun and
Tamannaah.
Arjun was even sent abroad to learn
martial arts and fights for this film whose picturesque Himalayan
location was an added attraction.
Yet despite the lavish sets by Anand
Sai, that include a recreation of the
famous Badrinath temple, the fine
camera work of Ravi Varman, and high technical standards, the film
falls short of expectation. The
storyline is somewhat akin to that of
Shakti which released a few months
ago, with the same theme of a
keeper safeguarding the temple. The film begins with a narration of
the destruction of temples in olden
times and the necessity to safeguard
them in modern times (the
Akshardham temple [ Images ] attack no doubt being an example).
Seers urge for a kshetrapalakudu
(protector) and children are eager
to get the required training.
Bhishma Narayan (Prakash Raj [ Images ]) a trained martial arts teacher who lives in the Himalayas
and runs a training school is chosen
to train the kids. Badri (Allu Arjun) is one of his best
students and after the training,
when the students are allotted to
guard various temples, Badri
naturally gets Badrinath and
protects it with great enthusiasm and devotion to Lord Vishnu [ Images ]. Badri shows off his fighting skills
when the protector of Amarnath
dies in an attack on the temple by
terrorists. Bhishma Narayan orders
Badri to vanquish all the attackers
and Badri does so with nothing more deadly than a sword, pitted
against guns and bullets. He wins, of
course, without suffering so much
as a scratch. Into this scenario walks
Alakananda (Tamannaah), an
atheist, who is brought to the
temple by her grandfather as her life
is in danger. Since she lost her
parents at a young age in this temple (they were both burnt
accidentally when her mother's
saree caught fire from the camphor
and her father tried to save her), she
loses faith in God. Badri brings back
that faith, and as expected she falls in love with him. But the path of true love is never
smooth. Alakananda is kidnapped
by her evil uncle Sarkar [ Images ] (Kelly Dorji) who wants her to marry
his son. Moreover, Guru Bhishma
wants Badri to be his successor and
for that Badri must remain a
bachelor. Alakananda, who wants
to marry Badri, can only pray to the Lord for help. The plot lacks originality. The love
story is unconvincing and director
Vinayak has allowed the action,
cinematography, and other aspects
to overshadow the romance so that
by the second half, much of our interest has waned. Songs and humour have been
inserted in places where they are
unwarranted. It's almost as if
comedians Brahmanandam, M S
Narayana Venu Madhav and
Krishna Bhagawan had to be present in the movie and had to be
given something to do. The songs
prolong the film and add to the
tedium. In fact the opening
sequence of the song
Omkareshwari Srihari Nagari is reminiscent of the famous drum
dance in Chandralekha. The song
Nachachavura starts off at a
waterfall and then cuts to Europe
after a few seconds! In one song,
Allu Arjun is skiing towards the Badrinath temple under the snow! The film has fundamentalist
overtones, which seems to have
escaped the censors. It has been
given an A certificate on account of
the violent action and skin show.
It's quite alarming to hear a woman say, "I love rowdyism since
childhood, so I married a rowdy." The action sequences are well
orchestrated by Peter Haynes, the
sword fights being fluid and
dexterous. The South East Asian
influence is obvious in the design of
the fights and Arjun does justice to the action sequences for which he
has been trained. Allu Arjun has a supple body, ideal
for dancing and action. He breathed
some life into the film through the
action sequences. But what can he
do if the script is lacklustre? Tamannaah is lively and energetic
but is made to show far more skin
than is required -- particularly given
the film's pious theme. Prakash Raj,
for a change, is not a baddie, and
turns in a good performance as Guru Bhishma Narayan. Kelly Dorjee
plays his usual villain role. Rao
Ramesh is wasted in a miniscule
role. M M Keeravani's music is just about
okay. The sense of melody that one
heard in some songs in Magadheera
[ Images ] seems to be missing here though. Ravi Varman's camera
work is excellent. He has been able
to use the natural beauty of the
Himalayan backdrop to advantage.
The colourist, Loren White, has done
a commendable job. Anand Sai should be congratulated for the
almost authentic replica of the
Badrinath temple; his sets are
indeed praiseworthy. Allu Aravind can take pride in the
lavish production and high technical
standards. But the plot and storyline
are weak and the film does not
engage one. The A certificate may
also be a deterrent.
Arts production, directed by V V
Vinayak and starring Allu Arjun and
Tamannaah.
Arjun was even sent abroad to learn
martial arts and fights for this film whose picturesque Himalayan
location was an added attraction.
Yet despite the lavish sets by Anand
Sai, that include a recreation of the
famous Badrinath temple, the fine
camera work of Ravi Varman, and high technical standards, the film
falls short of expectation. The
storyline is somewhat akin to that of
Shakti which released a few months
ago, with the same theme of a
keeper safeguarding the temple. The film begins with a narration of
the destruction of temples in olden
times and the necessity to safeguard
them in modern times (the
Akshardham temple [ Images ] attack no doubt being an example).
Seers urge for a kshetrapalakudu
(protector) and children are eager
to get the required training.
Bhishma Narayan (Prakash Raj [ Images ]) a trained martial arts teacher who lives in the Himalayas
and runs a training school is chosen
to train the kids. Badri (Allu Arjun) is one of his best
students and after the training,
when the students are allotted to
guard various temples, Badri
naturally gets Badrinath and
protects it with great enthusiasm and devotion to Lord Vishnu [ Images ]. Badri shows off his fighting skills
when the protector of Amarnath
dies in an attack on the temple by
terrorists. Bhishma Narayan orders
Badri to vanquish all the attackers
and Badri does so with nothing more deadly than a sword, pitted
against guns and bullets. He wins, of
course, without suffering so much
as a scratch. Into this scenario walks
Alakananda (Tamannaah), an
atheist, who is brought to the
temple by her grandfather as her life
is in danger. Since she lost her
parents at a young age in this temple (they were both burnt
accidentally when her mother's
saree caught fire from the camphor
and her father tried to save her), she
loses faith in God. Badri brings back
that faith, and as expected she falls in love with him. But the path of true love is never
smooth. Alakananda is kidnapped
by her evil uncle Sarkar [ Images ] (Kelly Dorji) who wants her to marry
his son. Moreover, Guru Bhishma
wants Badri to be his successor and
for that Badri must remain a
bachelor. Alakananda, who wants
to marry Badri, can only pray to the Lord for help. The plot lacks originality. The love
story is unconvincing and director
Vinayak has allowed the action,
cinematography, and other aspects
to overshadow the romance so that
by the second half, much of our interest has waned. Songs and humour have been
inserted in places where they are
unwarranted. It's almost as if
comedians Brahmanandam, M S
Narayana Venu Madhav and
Krishna Bhagawan had to be present in the movie and had to be
given something to do. The songs
prolong the film and add to the
tedium. In fact the opening
sequence of the song
Omkareshwari Srihari Nagari is reminiscent of the famous drum
dance in Chandralekha. The song
Nachachavura starts off at a
waterfall and then cuts to Europe
after a few seconds! In one song,
Allu Arjun is skiing towards the Badrinath temple under the snow! The film has fundamentalist
overtones, which seems to have
escaped the censors. It has been
given an A certificate on account of
the violent action and skin show.
It's quite alarming to hear a woman say, "I love rowdyism since
childhood, so I married a rowdy." The action sequences are well
orchestrated by Peter Haynes, the
sword fights being fluid and
dexterous. The South East Asian
influence is obvious in the design of
the fights and Arjun does justice to the action sequences for which he
has been trained. Allu Arjun has a supple body, ideal
for dancing and action. He breathed
some life into the film through the
action sequences. But what can he
do if the script is lacklustre? Tamannaah is lively and energetic
but is made to show far more skin
than is required -- particularly given
the film's pious theme. Prakash Raj,
for a change, is not a baddie, and
turns in a good performance as Guru Bhishma Narayan. Kelly Dorjee
plays his usual villain role. Rao
Ramesh is wasted in a miniscule
role. M M Keeravani's music is just about
okay. The sense of melody that one
heard in some songs in Magadheera
[ Images ] seems to be missing here though. Ravi Varman's camera
work is excellent. He has been able
to use the natural beauty of the
Himalayan backdrop to advantage.
The colourist, Loren White, has done
a commendable job. Anand Sai should be congratulated for the
almost authentic replica of the
Badrinath temple; his sets are
indeed praiseworthy. Allu Aravind can take pride in the
lavish production and high technical
standards. But the plot and storyline
are weak and the film does not
engage one. The A certificate may
also be a deterrent.
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