Saturday, February 07, 2015

Shekhar (Raj Kapoor), the eldest son of a wealthy widower (Raj Mehra), falls in love with the naturopathic doctor Sharada (Meena Kumari). When Shekhar traveling abroad, Sharada promises to wait for him. Since arrives the news of crash of the aircraft, which also sat Shekhar. His father sick with worry, his little brothers and sisters become uncontrollable and also sick. From this need will help them a selfless doctor: Sharada. Without knowing that her lover is the son of the house, it maintains all healthy.

This will become part of the family and agrees to marry Shekhar's father, as she holds her dead loved ones. But since Shekhar emerges: He survived the crash as the sole. When he sees that his Sharada has married his father, he succumbs to alcohol. Sharada trying to get him out of the deep, and to marry him with Chanchal (Shyama). The acclaimed South Indian director LV Prasad (1908-1994) managed to 1957, the two superstars Meena Kumari and Raj Kapoor for the first time together in front of the camera to entice something besides him only Khwaja Ahmad Abbas in 1959 with Char Dil Char Raahein managed.

Prasad makes the best of it and makes use of the qualities of these two first-class actor precisely. In the case of Raj Kapoor, this means he is allowed to live joyful young and later play the internally torn man first. Meena Kumari is granted only brief happiness, then she plays what she does best:. The suffering, dutiful Hindu woman to watch her, is even more highly fascinating. I am otherwise not a fan of such fatalistic religious epics, in which self-sacrifice and self-pity play dominant roles - but with Meena Kumari This always works a little better than other actresses .

She has these roles in the blood and Prasad staged his melodrama with the proper force and also the necessary pace to make the whole thing never tough. That's why I prefer "Sharada" also the incarnations of "Devdas" before which a similar suffering constellation have (man succumbs to alcohol, woman fits), but here more calves in above suffering and melodrama paths. This does not mean, "Sharada" is light fabric. On the contrary. Prasad wearing extremely thick and his coup here is the bold starting point of the whole drama: A man has to deal with the fact that his beloved is now his mother.

The sexual and moral implications, even the incestuous allusions, Prasad can and focuses strictly on the dilemma of the characters - and how to handle it. Meena fits into this in their eyes God willed suffering, while Raj inaugural flight into the alcohol. The scene in which he breaks down and realizes that Sharada now is his mother, not his lover, goes to the substance. Sharada also has many such moments in stock which cover up the weaknesses of playing. These are the comedy scenes that do not fit into the movie and forces act.

The predictability, resulting from the construction of the fatalistic story (especially in the second half). And the songs that lack catchy melodies. All the moves in the face of daring story of relentless melodrama and the fabulous actors in the background. The two main characters won the way for her tour de force performance no Filmfare Awards. Meena ironically lost to Nargis, the heroine in 1951-1956 all had films of Raj Kapoor - for her performance in Mother India . But the supporting cast Shyama and Raj Mehra granted at least for "Sharada" from. Deserved, because the film has class.

The return of the trio Ajith, Vishnuvardhan and Yuvan Shankar Raja was highly anticipated after the success of Billa in 2007. The craze has increased day by day and has made Arrambam one of the most anticipated films of the year. Ashok Kumar alias AK (Ajith Kumar) is guilty of bombings and removes Arjun (Arya) a computer genius to force him to work for him. Arjun then committing computer crimes to save the lives of her friends Maya (Nayanthara) and Anitha (Tapsee) that are held by AK and his men.

As usual the presence of Ajith raises the film and the actor perfectly fulfills its role. With Arrambam moves away gradually from the world of gangsters that characterized it since Billa. His performances are convincing and he still bears once the film. The romance between Arya and Tapsee relaxes the atmosphere and the actor brings a comic touch to the film while Tapsee inherits the typical role of Tamil films. Nayanthara brings glamor and her character plays a relatively important role, but it does not allow her to express her talent.

The strength of this film is its cast certainly confirmed that actors make the characters to life. Kishore inherits the role of the incorruptible cop he played in the past and Rana Dagupathi tribute to his character but without being exceptional.

Om Prakash, director of photography retains all the attention and steals the other technicians. The staging and visual clips are remarkable, the colorist is to be commended for his work. Anu Vardhan, the designer is distinguished by its specific choice to each character and the film pulls up. The veteran editor Sreekar Prasad provided a mixed work because overall the film quickly makes leaving some breathing space to spectators to address technical errors but his work can be described as a draft. Transitions are poorly made and a replica of Nayanthara is simply cut off. Although the record is effective minor errors spoil the experience.

The big disappointment is signed Yuvan Shankar Raja seems to have been absent. The composer who usually pulls the film makes up the opposite. The soundtrack does not reflect the intensity of the image. It is heavy and does not allow viewers to immerse themselves in the atmosphere of the film. To this list and join Suba Vishnuvardhan by weakness in their scenario. Vishnuvardhan appears to have focused on the stage at the expense of twists and turns in his script.

The outcome is predictable and the main plot of the film but the director is illustrated by the intensity he has put between each scene. The work of production designer Ilayarajah, recent winner of the "National Award" is quality, places where the film is set have a very chic and cozy side which amply reflects the ideas of the director. Lee Whittaker, Keycha and Jegan deserve mention for action scenes. Despite disappointing special effects, fights choreographed by them are amazing.

When the episode Ashok and his team seems to have come to an end, another unexpected challenges the facts on the ground and re-energizes the film. We regret that these twists are minors and no brand spirit. The presence of Ajith and his facial expressions are raising the intensity of the film.

The scenario brings nothing special but the staging breeze codes Tamil films and tries to get closer to Western action movies. It is customary to Kollywood to have a song that gives courage and motivation betrays hero, whose honor was dirty. Ajith is a character, certainly unusual but is not a superhero. No scene or dialogue boasts the actor or the character he embodies. Then the lack of "duet-song" for one of the industry players tops was inconceivable, but Ajith break this unwritten rule.

The film has many technical defects such as explosions that are poorly executed or gross deficiencies Ajith dance but the latter is characterized by the attempt to want to break the norms of Tamil films. Trying to Vishnuvardhan is successful despite the weakness of the script and the shortcomings of technicians; including Yuvan Shankar Raja. The director presents an acceptable product through the presence of Ajith, Arya and worked its implementation stage.

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