Sunday, January 27, 2013

Farmers complain the Thakur Pratap Mahendra (Kulbhushan Kharbanda) that a witch doing mischief in the region and people kill. Thakur's brother Sameer (Vijayendra Ghatge) takes care of the matter and is likely to take blood drinking beast named Nakita. The witch is hung, the matter appears to be over. But her henchmen ( Rajesh Vivek ) preserved their soul and transfers them to the young Jasmine - the daughter of Thakur. The acts henceforth murderous. To protect Sameer's daughter Sahila, he sends her to a school in Bombay. Years later, she returns as a young woman (Sahila Chaddha). On the way she makes the acquaintance of the heroic Hemant (Hemant Birje). It has the aid of badly needed, as they are with sister Jasmine (Jasmine) must grapple.

Bluntly Veerana is trash. Some of the actors act on C-level, the production screams "cheap!", The interface is a disaster, the comedy scenes are rubbish, of genuine horror can Given wild illumination rarely be mentioned. But who Bollywood horror looks at who knows the actually already. The infamous Ramsay Brothers (Purana Mandir), the founding fathers of the Indian cinema goosebumps, are perhaps the best in their field, but even they never made ​​it, within the conventions of Bollywood (Masala of humor, action, music, etc.) to a work Turn that really tugs at the heart. Also "Veerana" does not get the on the legs and should therefore be regarded as a cult object. For then it is fun.

The film plays with the usual genre offerings, of black cats to fog, from witches to black magic, from demonic possession to zombies. Everything is there, and somewhat helplessly bound together. But Ramsay understand it confidently to arrange their pictures so that they reconstruct the atmosphere of horror films of yesteryear. "Veerana" was filmed in 1985 and was due to censorship problems until 1988 to the movies, but looks much older anyway from - and not just because the Ramsay himself drew inspiration from José Larraz '"Vampyres" (1974) alleged that on have seen video. No, it is her directing style, which acts antiquated, somewhere between Hammer horror and American 50's horror with Bollywood exoticism understood.

This mix makes a half hours for crazy entertainment. However, this with voltage through hangers and the above-mentioned problems. Since about the actor. The veteran Kulbhushan Kharbanda than Thakur lived convincingly Gulshan Grover makes a servant Raghu a good figure and the unknown Jasmine makes a sexy witch. Debutante Sahila Chaddha looks cute, but her talent is limited. Rajendra Nath appeared as a comedian thankfully only briefly, Satish Shah gets even more space, but because he plays a horror fan, his jokes are all the same genre justice. Further down the ladder: Rajesh Vivek , who speaks very slowly and allowed charging. And of course Hemant Birje who as Tarzan came to Mini-fame, acting here with the expressive power of a wood pile.

Ramsay fans will not be disappointed in spite of everything in this show because the film offers what the horror-family has made it so popular. But a really good work can be no question - this one has to put up with too much nonsense and plump homemade horror. But since this type of trashy horror, mixed with musical numbers and theatrical overacting now once rare has in world cinema, Bergen Bollywood horror movies Kuriositätscharakter. Thanks absurd ideas, greasy villains, imaginative sets and untamed image design "Veerana" part of the above-average output of Ramsay. To the delight of all lovers of the bizarre cinema.

The British plunder the treasures of India and kill the Indians applied to hundreds. When King Azad Singh (Dara Singh) defends against these escapades of the occupiers, he was arrested and is to be executed. At the request of Lady Helen, he is, however, "only" locked up for life. Dr. Harry (Prem Chopra) who brought Singh by poisoning in the hands of the British, is promoted to mayor. Singh's wife (Nirupa Roy) is chased over a cliff.

They survived, but silent because the magnitude of the atrocities - and because she has lost her baby: on the run she put it namely in the crib of an orphanage, but since the British were there first, was Singh's horse Rani the child to two foster parents. There is growing up without the knowledge of the true mother. When Raju (Amitabh Bachchan) is great, he gets like his father to the British. Not only that. He falls in love even in Harry's daughter Ruby (Amrita Singh).

Manmohan Desai and Amitabh Bachchan were shooting together eight films, including such classics as Amar Akbar Anthony and Coolie . "Mard" came relatively late and it actually show signs of wear. Trying Desai, to beat his films constantly, resulting this time in over the top. Mard is nothing but a trash and Exploitation epic. Spectators wars matter. They made Mard became the most successful film in 1985. It was Amitabh's last smash hit, was followed by a significant drought that lasted until the late 90's back.

Maybe it was because the "Big B" of this type rolling was getting too old (he was 43) and a change from the "Angry Young Man" to "Angry Old Man" was announced? Despite slight aging: Bachchan is still very convincingly in "Mard". The supporting cast he steals anyway easily the show. Desai knows however, that his own star still made ​​no more cinema blockbuster. And that's why he threw everything he could think of, in the plot into: quicksand, Wunderhund Moti, Super-Ross Rani, torture, masks, gladiator fight, lassos, songs, disasters, death, armor, angry Englishman, muteness, Divine Tiger, Sex and even more torture. Mard is hardly something that could whip up the mood further. The plot itself is namely arg thin and had a hundred times.

The songs were not really my thing. Firstly, the melodies heard all about at similar, on the other hand, the staging is a little short sleeves. Striking is "Main Teri Tangewali" aka. "Father Dear Father", in which Desai and Bachchan in Amar Akbar Anthony allude. Otherwise, compared to the excess of mistaken ideas downright good. "Mard" gets just 3 stars, simply because he is so crazy and degenerating that one can not help but be amazed. But he is neither innovative nor artistic value. From Desai and Big B definitely there are better strip!

Thiru (Danush) is a young bum, who despairs his parents, and considers himself misunderstood. One evening after an argument, his father (Mouli) hunting the house, refusing to see him until he was able to earn his own living. He will take refuge in the temple area, where he fell in love for the beautiful Priya (Shreya).

They spin the perfect love, yes, but here it is: it does not have a sub and is rich. His brother Guru (Prakash Raj) is a hard-nosed business man who evidently sees a dim view of his daughter attends a Stand Nickel as Thiru. He even offered him a huge amount of money to renounce Priya, what it accepts. He plans to use this money to get rich, to prove his worth, and finally able to stand head high in front of his parents and his sister ... there he succeed?

The starting point is ultra classic he is poor / she is rich, it is rejected / he will become wealthy thanks to his talent ... but the scenario breaks new ground with a few twists of unpredictable and ingenious situations in a second part that keeps going. The characters are well written, including family Dhanush. The supporting cast, especially the little brother of Dhanush, are excellent. The good surprise comes from Shreya, who in the first part of the film, in addition to being beautiful, has a really consisting role where she is doing very well. She even displayed a certain sense comical that she had not shown before. In the second half it gives way to the clash between long awaited Dhanush and Prakash Raj, equal to himself, as always compelling and charismatic.

Obviously this is Dhanush dominates the film, returning to what it does best: the young. He has not too much to force his talent to lend credibility to his character (after all he is 25 years old this is not really a part of composition). Comedy does not proceed by skits added using actors for the occasion, as is often the case in the masala films. Here humor is well and truly present in the heart of the story, and this is Thiru who is the engine. In his role as young hyperactive, Dhanush demonstrated a perfect comic timing. Add to this dialogue with a line, a well-paced staging, and the result is unstoppable.

Musically the film is also to be classified in the upper basket because the composer D. Imman has certainly achieved its best BO to date. The pretty heady romantic ballad "  Vizhigallil Vizhigallil  "to the more upbeat songs madhura Jilla, through an old nag dappankuttu well, not to mention the remix of a classic 80s song Ennama Kannu sowkyuma particularly well there's something for everyone.
The imaging is neat, Dhanush and Shriya are well developed in dance scenes that fill their eyes. Technically, without being truly spectacular modest budget oblige the film is treated both in the photograph framing.

In short, you'll understand Thiruvilaiyaadal Aarambam is a very good entertainment, and a great surprise. A film without pretension, to do to relax and have a good time, quite in the style of Thiruda Thirudi, another comedy whose success had launched Dhanush there a few years. This is only the second film young director Bhoopathy Pandian and his sense of comedy is quite exceptional. His first film was as a comedy, and since he has realized another, more tinged action (Malaikottai), who also worked well.

The student Shwetambari (Urmila Matondkar) falls in love with the musically talented Soham (Ashmit Patel). However, she is the daughter of Gayatri (Dimple Kapadia) and Mahendra Nath (Raj Babbar), two respected Brahmins of the city Banaras. He is a foundling from lower caste, thanks to the teachings of the sage Babaji (Naseeruddin Shah) became the spiritual man. The romance of the two will talk of the town. In order to resolve this difficult situation, Mahendra gives his consent to the marriage!

Spirituality and religion are fascinating for me sociocultural issues in my life but no significance. That's why I'm the wrong person to this respect define the content of "Banaras". But as a sensual rush of images of remarkable power of this drama is undoubtedly a recommendation from my side safely. Director Pankaj Parashar, the last with the concoctions Inteqam and Meri Biwi Ka Jawab Nahin negatively noticed quite familiar to the mythical power of the holy city of Banaras, also known as Benares or (since 1956) Varanasi. The metropolis on the Ganges is not just background for the plot, but the origin of the mysteries of the film and venue of the old box conflict.

In this area Banaras for me has a little success. The horror of standing up of Brahmins in front of the lower classes is discussed and the love of the two main characters to statement against dictatorship box. Parashar not putting it here on a genuine discourse on the subject of, produced with the material but a minimum amount of tension. Combined developed with the audiovisual experience "Banaras" its strength. Already the first few shots in the film, accompanied by haunting music of Himesh Reshammiya make it clear that Parashar is out of the city to show its most fascinating side - and hide the less appetizing points. The actors submit to this art work and are often only ornamentation of urban architecture. But very stately Schmuckwerk:

Urmila Matondkar, with 32 years now mature and beautiful, hyper acts only on a few points, plays otherwise consistently convincing. The Ashmit previously used as a psychopath Patel ( Inteha , Fight Club ), brother of Amisha Patel goes, something even airy through the film, but is certainly not miscast. Dimple Kapadia otherwise always like charging, on, is great, as her fellow actor Raj Babbar. Naseeruddin Shah plays the wise preacher with dignity, but since the problems begin. What he tells us is really gaga. Without a hint of irony, he holds endless monologues about the all-pervading divine power that unites every atom. Who is spiritually inclined, will absorb it, I thought it was only with difficulty over time. A physics professor and a psychiatrist are introduced, but not about to put counterweights to the rampant spirituality - on the contrary.

Even the physics professor, actually quintessential rational-scientific thought, preaches the class of the divine atoms. And the psychiatrist must realize that rationality is no good, but only brings a spirituality continues. As a rational materialist I wanted to smoothly throw off a bridge myself there because I'll never get this kind of enlightenment. Unlike the people in the film: Nearly all arrive eventually at the point of inspection. And from then on they go with a psychotic smile through the world. We know that these deluded cult leaders or light eaters, to which all criticism of their actions rebounds because they react with a superior smile and anderweltigen it. Such people make themselves a balanced people like me furious. And here in "Banaras" is precisely this "I grin caught the world" touted -Existence as supreme happiness.

Unfortunately, however, are a not particularly surprising twist with Naseeruddin's character and even the actual love story almost unimportant material. These things, therefore, which would please me more comfortable with. Content is "Banaras" therefore for me far less here than would have been possible. Without this Mystic- and Spirituality we would have a film with great potential. How far gets out of hand when it comes to spirituality Parashar, shows his penchant for Stanley Kubrick's "2001: A Space Odyssey". The logo of the producing company Setu Creations is an image of the star child from that brilliant classics and at one point in the movie where the Soham an "enlightenment of love" has, he makes almost by the LSD trip of astronaut Bowman. Oh yeah, that's actually a fascinating idea: "2001" in Banaras. But for Parashar is only one element in a spiritual Allerlei, this is going nowhere. Only a big, big smile.

Even the criticism of the caste system is the face of that smile relativized something: namely a low person dies at one point in the film - probably only from the end, so that the upper castes can be forgiven a smile. Thus, the lower castes exist to redeem the upper. Also this is a form of dictatorship box that nevertheless helps both sides to good karma. But as far as I want to "Banaras" not over interpret. Content, it is far too little ago. As illustrated broadsheet, as sensory experience with good actors, he is all but succeeded.

Nanban, the new film showman Shankar, is a dramatic comedy that presents a critical analysis of the Indian education system. The plot is located in an engineering school in southern India and follows a group of friends, where everyone has chosen his studies for a different reason.

Two longtime friends receive a call from a third and it is the excitement! Everyone puts his life on hold to go in search of Pari, an unforgettable companion that changed their lives. On the way leading them to their friend, remember their past students and their encounter with Pari. Follows a flashback that tells us more about each character. Venkataramakrishnan (Srikanth) is a son to dad who has swapped his photographic dreams to please his father. For Severkodi Senthil (Jeeva), coming from a poor family, engineering is a choice of reason will help him out.

Finally, what would the gang without Panchavan Parivendan said Pari (Vijay), which is aimed at engineering profession by choice of the heart and interest in this specialty. In an institution where discipline and worship of success are religions, the state of mind of Pari is inconsistent with the will of Virumandi Santhanam (aka Virus) (Sathyaraj), the director. This promotes learning while draconian Bet argues that passion is the key to success. Everything becomes complicated when Pari falls for Riya (Ileana D'Cruz), daughter of Virus.

The first argument, which is very harmful to Nanban is that it is a remake of 3 Idiots , one of the biggest hits of Indian cinema in 2009. By the admission of Shankar who openly praises the script Rajkumar Hirani (the director of the Hindi Version), Nanban is assumed proofreading 3 idiots . But more generally, the two films are based on Five Point Someone , Chetan Bhagat's novel, published in 2004.

Rajkumar Hirani has become so with Vidhu Vinod Chopra , one of the combos most irresistible of Hindi cinema with cult diptych Munnabhai (which will soon become a trilogy), Shankar is an institution in himself. In almost twenty years of career and eighteen films to his credit as director and producer, Shankar has never known failure except for Boys in 2003. But beyond its performance BOX OFFICE , Shankar is an inventive director who has reinvented itself to offer a movie masala vanguard. Marked by gigantism and excellence, his style is instantly recognizable in Indian cinema. Some describe him as the Indian Spielberg, but it is above all the pope's action entertainment, able to think for an entire industry.

Nanban is officially his first remake and his new attempt in comedy since the fiasco of Boys . Needless to say that a director of his caliber can not stay on a reverse and therefore had a revenge to take. On the other hand, it has rarely disappointed on prestigious projects and after a blockbuster history as Endhiran , the wait was increased tenfold, especially for his first collaboration with the idol of the new generation what Vijay . Has he succeeded in his mission?

We do not expect to be surprised by a remake, since we already know the plot and its outcome. But Nanban - buddy, did not surprise me that he has conquered me despite all the prejudices I had initially. Indeed, on paper, Nanban promises to be a faithful reading of 3 Idiots and Shankar to the stick, we do not expect anything more than an honest entertainment. However, the Tamil version manages to stand out from his elder, by an excellent cast! Can we do better than the original? In general, no, but here we can say that it's almost succeeded.

First of all, say it clearly, Nanban is a religious adaptation of 3 idiots , with some adjustments on humor and picture layout for the film to be to the taste of Tamil viewer. We do not criticize the work of writing Shankar who gets the script of Rajkumar Hirani. Nanban therefore gets all the defects of the Hindi version, ie lengths, sewn with white thread situations and absolutely unrealistic twists (palm Returning to a ridiculous final). We can blame the director's lack of boldness or too his respect to the original. There was however, no complaints about his acting direction that is effective and improves the performance of the actors.

From 3 idiots, Shankar has kept the spirit very positive attitude, summarized in the motto of iconic heroes: all is well . Just like this creed, cult, any distribution of actors seems to be doped with enthusiasm and it shows with the sincerity of their interpretation. On this level, the biggest surprise, which alone is worth viewing Nanban is Vijay!

The Tamil actor, hitherto known for its poor performance in commercial and other nanars masala s brainless, is a revelation! Cinephile memory, we must go back to 1998 to find a good supply of Vijay. It was a film that was entitled Priyamudan and star are camped the role of a disturbed young man and possessive.

In Nanban, Vijay is a far cry from the stereotypical hero kollywoodien . It is bright, moving, funny and charismatic damn! The opening scene sets the tone of Vijay again. No gliding, no villain flying, no folk song in his glory, but what have you done super Vijay doggone?

Shankar seems to have taken things in hand and shows us the true face of this actor, able to give space to his colleagues and be sober to enhance the emotions of his character. Actually, I had lost all hope for Vijay but Shankar did! Ilaiyathalapathy (as his fans call him) is memorable throughout the film and whether comic or dramatic scenes, the actor does an impeccable job. A comparison with Aamir Khan in the same role, I find the best and inhabited by his character.

Srikanth and Jeeva and demerit do not have their chance to shine. Special mention to Srikanth because the actor had disappeared from circulation for several years and this film was his ticket back to Kollywood . Already can already say that his comeback is a winner, especially considering his character to face his father and speak from the heart. This scene is memorable for its emotional weight and all the pain that the actor manages to instill in her game. Thanks to its correctness, we find ourselves automatically invaded by emotions, like being connected to the character. I myself have been extremely touched by this scene whose success depends in part on the work directed by Shankar. The maintenance stage Jeeva is equally remarkable, but less surprising when you know the caliber of the actor who has proven in Raam .

In the role of Virus, the veteran Sathyaraj is good, but not excellent. I find it enormously monkey Boman Irani and that is unfortunate. It could and should have appropriate this character to make his mark. Knowing his comic flair, his crazy side and ability to go into a spin in his films, the result would not have been disappointing. Sathyan Sivakumar who plays the role of Silencer , the villain of the bespectacled first class, is hilarious! Although his game has its limits, he manages to make us laugh with his facial expressions and his insanely phrasing.

Finally, Ileana is beautiful, beautiful, charming and good dancer in the clips. But as in all movies of Shankar , it is unfortunately reduced to figurehead status of heroin which nevertheless shows some acting skills to the very end, but merely smile and wince at other times. It's unfortunate, but I do not know whether to blame the director, or an industry which requires cautious codes for commercial films, where the woman is just a charming asset.

Technically, Nanban, like the previous films Shankar , is a model to follow. But can it be otherwise? He is among the filmmakers who innovate and require each output a new style. Photo Manoj Paramahamsa is a true visual treat, not only in the musical sequences, but for all scenes. It's colorful, live, fresh. In short, you can not take off his eyes from the screen, even when the film fishing some delays, it is so beautiful! Precisely speaking of the term Nanban have gained momentum with some cuts, because the film is too long (3:08) and the experienced editor Anthony what seems to have fallen asleep on his timeline.

Speaking of music, you know that a conductor is responsible for coordinating the interplay of instrumentalists. Here man orchestra is Shankar as his contribution is immense and we feel that he has really affected all areas of the film, especially for the soundtrack. If Harris us right now, bad Jeyaraj and the composer is no longer a shadow of himself, with productions simply unworthy of his rank, Shankar knew the crop and shoot his best to make us the real Harris Jeyaraj. The original rhythms, beautiful melodies, everything is waiting for you to give us songs, certainly commercial, but catchy enough to continue to hum them to the exit. Work on the musical themes is neat and it is far from deafening music and unbearable 7am Arivu .

In the end, Nanban - buddy is an anti-stress film that gives fishing and preaches an education system, where passion premium on performance. Vijay , at the dawn of its 40 years, always made ​​his twenty-restraint , brings tremendous credibility to his character. Hopefully we will review it more often face the cinema, we congratulate the one who made ​​this possible, the brillantissime Shankar  ! The developer can claim to have made ​​Nanban even more entertaining than the original and have instilled a caustic humor that keeps the viewer through afloat.

Nanban - buddy is a buddy movie without complex, which can be enjoyed with family or friends! Everything is there to spend three hours of emotions and laughs. The film 3 Idiots with Aamir Khan was one of my heart 2009. shots Aamir Khan was excellent in this role, his facial expressions and his humor made ​​fly, and the main trio of actors had good chemistry. So it is with the same interest as I went to see Nanban , curious to see the Tamil adaptation.

The story is faithful to the Hindi version very loyal even the actors themselves, up-to-hand Vijay resemble the original actors of the Hindi versions.

But the Tamil version has a little something extra: his biting humor. Each dramatic scene is punctuated with well-found joke without becoming heavy. The Hindi Version was funny, but not as much as this one. Vijay has been able to play the role and his personal touch, at once comic, dramatic and romantic, he defends this version that deserves to be watched, and you leave pleasantly surprised. So I was taken under the spell of their games to players who have returned from emotion but most of the humor in this film.

I did not get too hung up on heroin, which had more of a figurehead role for me. Strangely, I preferred Kareena Kapoor who without over-hitting, was able to bring freshness and romance. The couple Aamir / Kareena has worked much more than the couple Vijay / Ileana D'Cruz. Like the original version, the scenery is beautiful, and even though I did not get too hung up on the soundtrack, apart from the title track, which is nice, the clips are nevertheless very beautiful visually, (Farah Khan thank you).

In the end, the Tamil version is updated to share his songs, is simply excellent, it appears smiling. So I advise everyone, especially if you liked the Hindi version it will only enchant you. Having seen and enjoyed the Hindi version of 3 Idiots , it was with great curiosity that I primed to see Nanban  : how would they manage to repeat the story without copying the original? Although Shankar says it's another adaptation of the original book Five Point Someone. How Vijay was going to take the lead role? Because honestly, issue acting, we can forget about it. How, how, in short, the best is to see the movie to compare.

First see the movie in a real movie theater, no you never be repeated enough, but it changes everything. Frankly, in addition with an almost full house and a good atmosphere, that finally convinced you. The film itself is, with some scene nearly identical to the Hindi versions. The two acolytes of the hero physically resemble Hindi actors (besides it's crazy how you can change a mustache a man. I was captivated by the transformation of Prithiviraj here rebelote with Srikanth).

The story will understand you has not changed one iota, however the Tamil version is dotted with extra scenes which greatly lighten the film and make it much more powerful and friendly. There is no longer this tearful and dramatic side of the Hindi version of the film was shot a better pace.

Vijay was a pleasant surprise, the actor already glue a little better about the "age" of the main character (knowing that Vijay is eternally young, it helps). But beyond that, he comes to embody Pari, without over-hitting and being surprisingly fair compared to what we were used to seeing.

Jeeva and Srikanth are very good too, they have a good chemistry and it shines on the screen. Ileana D'Cruz has an air of Shruti Haasan and Kareena Kapoor but less pretty (the role was initially proposed to Shruti Haasan and Asin). It happens to be filled are role without more and will not leave a lasting mark on the world of the 7th art.

My heart stroke is Sathyaraj aka the terrible virus . As Gandhi Tata in a previous news , Sathyaraj his paw prints of the character, by giving us a manager who speaks to each of us. We've all been faced with this kind of teacher who terrified us to the highest point. Virus has the intelligence and the intransigence of this kind of character, but also that crack and those little moments of doubt that makes it infinitely human. I prefer, by far, this version of the Hindi version of Virus.

Photography is truly sublime and clips are magnificent (some clips are reminiscent of those of Sivaji The Boss). I have much less against by clinging to music apart from the title track all is well. Overall, for Shankar, one could not expect anything less from him, he managed to improve the Hindi version erasing some flaws that could criticize the original, which makes Nanban super entertainment without moderation.

Not having had the honor (or desire) to see the monument 3 idiots, I went to this meeting of Nanban serene mind, not expecting much of a remake and hopefully have a good time. This was done because the film looks easy, if we disregard certain lengths oh it's only the intermission and quite winded scenes (the baby's foot and stroke in particular.

The cast is very successful. Vijay is really surprising simplicity and restraint. He brings a freshness to the role and impresses with its eternal youth. Jeeva is as always excellent, despite a character who would have benefited from a little more developed. Srikanth is unrecognizable without his mustache but is doing pretty well in a role full of compassion and distance.

The service vase, a veteran of the genre, it is Ileana. If it is fun to watch, it remains a little too recessed and does not give real depth to its already limited role. Sathyaraj in headmaster actually too crazy rocker and his character too quickly into caricature. Sathyan, he excels Silencer and offers us the best valves in the film. Indeed, if history is full of good feelings and dramatic moments, she is happily constantly punctuated with comic moments. This will dramatize situations sometimes a bit too heavy.

Technically the film is, like any production Shankar, blameless. Photography is sparkling, plans are millimiters and installation is rather successful. The leg of the director can be recognized in the clips and the sets, whether traditional or avant-garde. The music is by Harris Jeyaraj, who finds a bit of sparkle (his recent soundtracks were pretty mediocre) with fairly well produced and rhythmic compositions. Despite a few reservations, the film really have a good time, unpretentious and with great humor. With family or friends, an upscale entertainment that should be a landmark in the career of Vijay .

Maru Visaranai starring Yoga, Poornitha, R. Sundarrajan, Akilan, Muthukalai, directed by Sivaraman.

Aranmanai is an Indian Tamil horror comedy film starring Hansika Motwani, Vinay Rai, Andrea Jeremiah, Raai Laxmi, Nithin Sathya, Santhanam, Kovai Sarala and Manobala directed by Sundar C.

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