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Another bold attempt from director Mysskin.After a silent tramendous hit of chittiram pesudhadi he has launched the film ANJATHEY.the bold touch can be seen through out the film and the technicians also he selected for his wavelength.The hero Narein and his friend Ajmal are close friends.Narein is street dada and Ajmal is sincere man who is trying for SI (sub inspector).Narein father offently scold narein because of rubbish thing that heis doing in the street.Because of that he too attend SI interview and done malpractice and select for SI training Ajmal was reject by the interview pannel.and whole thing has been changed inthe second half.Narein became a police And Ajmal addicted for drugs and unwillingly join in the moffia gang who kiddnapping the girls and alegelledly rapped them and brought money from their parents.Prassna is the head of the gang and done perfect job.sunder.c.babu take part ofthe music.every character in the movie ,they are all lived as a character especially the Kuruvi character.Very brilliant movie every  one must watch.

 

Rajnikanth was born Shivaji Rao Gaekwad on December 12, 1949 in Karnataka. He grew up to become a bus conductor during which time he reportedly caught the fancy of the bus travellers with his mannerisms and style of issuing tickets and blowing the whistle and so on.

He is the fourth child of Ramabai and Ramoji Rao of a marathi family. His mother died when he was 5 years old. Rajnikanth is gestured with many awards and also has 38,000 fan clubs.

Apart from Tamil, Rajinikanth has acted in over 160 movies, including Telugu, Kannada, Malayalam, Hindi and Bengali and all remakes of Tamil Movies. He has also acted in a low-budget Hollywood movie (Bloodstone in 1988).

List of movies in which he has appeared atleast as a guest :

In 2006 - Sivaji: The Boss

In 2005 - Chandramukhi

In 2002 - Baba

In 1999 - Padayappa

In 1998 - Aandavan

In 1997 - Arunachalam

In 1995 - Badsha, Pedarayudu, Aatank Hi Aatank, Muthu, Bhagyadevta.

In 1994 - Veera

In 1993 - Insaniyat Ke Devta, Ejamaan, Uzhaippali, Valli

In 1992 - Mannan, Tyagi, Annamalai, Pandiyan

In 1991 - Dharmadurai, Hum, Farishtay, Khoon Ka Karz, Phool Bane Angaray, Naattukku Oru Nallavan, Dalapathi, Dalapathi.

In 1990 - Panakkaran, Adhisaya Piravi.

In 1989 - Rajadhi Raja

In 1989 - Siva, Raja Chinna Roja, Mappillai, Bhrashtachar, Chaalbaaz

In 1988 - Tamacha, Guru Sishyan, Dharmathin Thalaivan, Blood Stone, Kodi
Parakudhu

In 1987 - Velaikaaran, Insaff Kaun Karega, Oorkkaavalan, Manidhan, Uttar Dakshan.

In 1986 - Mr Baarath, Nann Adimai Illai, Jeevana Poratam, Viduthalai, Bhagawan Dada, Asli Naqli, Dosti Dhushman, Maaveeran.

In 1985 - Naan Sigappu Manidhan, Mahaguru, Un Kannil Neer Vazhindal, Wafadaar, Shri Ragavendhra, Bewafai, Padikkadhavan.

In 1984 - Meri Adaalat, Naan Mahaan Alla, Thambikku Endha Ooru, Kai Kodukkum Kai, Ethe Naasaval, Anbulla Rajinikanth, Gangvaa, Nallavanuku Nallavan, John Jani Janardhan.

In 1983 - Paayum Puli, Thudikkum Karangal, Andhaa Kaanoon, Thaai Veedu, Sivappu Suriyan, Jeet Hamaari, Adutha Varisu, Thanga Magan.

In 1982 - Pokkiri Raja, Thanikkattu Raja, Ranga, Pudhukkavidhai, Engeyo Ketta Kural, Moondru Mugam.

In 1981 - Thee, Kazhugu, Thillu Mullu, Garjanai, Garjanam, Netrikkan, Garjane, Raanuva Veeran.

In 1980 - Billa, Ram Robert Rahim, Anbukku Naan Adimai, Kaali, Mayadari Krishnudu, Naan Potta Saval, Johnny, Kaali, Ellam Un Kairasi, Polladhavan, Murattu Kaalai.

In 1979 - Priya, Kuppathu Raja, Iddaru Asadhyule, Alauddinum Albhutha Vilakkum, Ninaithale Inikkum, Andhamaina Anubhavam, Alavudinum Arputha Vilakkum, Dharma Yuddam, Naan Vazhavaippen, Tiger, Aarilirundhu Arubathu Varai, Annai Or Aalayam, Amma Evarikkaina Amma.

In 1978 - Shankar Salim Simon, Killad Kittu, Annadammula Savaal, Aayiram Janmangal, Maathu Tappadamaga, Maangudi Minor, Bairavi (debut as solo-hero), Ilamai Oonjaladukiradhu, Sadhurangam, Vanakkathukuriya Kadhaliye, Vayasu Pilichindi, Mullum Malarum, Iraivan Kodutha Varam, Thappida Thala, Thappu Thalangal, Aval Appadithan, Thaai Meedhu Sathiyam, En Kelvikku Enna Badhil, Justice Gopinath, Priya.

In 1977 - Avargal, Kavikkuyil, Raghupathi Raghavan Rajaram, Chilakamma Cheppindi, Bhuvana Oru Kelvikkuri, Ondu Premada Kathe, 16 Vayadhiniley, Sahodara Saval, Aadu Puli Attam, Gaayathri, Kumkuma Rakshe, Aaru Pushpangal, Tholireyi Gadichindi, Aame Katha, Galatta Samsara.

In 1976 - Katha Sangama, Anthuleni Katha, Moondru Mudichu, Baalu Jenu

In 1975 - Apoorva Raagangal.

Reema Sen was born on 29th. october 1981. She is an indian actress and a model. Reema sen was born in Calcutta and she then moved to Mumbai to continue her Modelling.

First movie of Reema Sen was a low budget movie “Chitram”, starred with Uday kiran. Then she entered tamil movie Minnale which was a super block buster. Then reema sen also entered Bollywood but got failed in it after the flop of her 1st. bollywood movie “Hum Hogaye Aap Ke”.
She can speak the languages Bengali, Hindi and English.

Nivea, Electrolux, Clinic Plus, Clinic Hair Oil, Nescafe, VIP Luggage, Borosoft were few of her modelling campaigns. She acted in a few music videos too. She was also a part of Mani Ratnam’s stage show, Netru, Indru, Naalai.

Films in which Reema appeared :

Rendu (2006)
Thimir (2006)
Vallavan (2006)
Bangaram (2006)
Malamaal Weekly (2006)
Aan: Men at Work (2004)
Iti Srikanta (2004)
Anji (2004)
Chellamae (2004)
Jodi Kya Banayi Wah Wah Ramji (2003)
Veede (2003)
Enakku 20 Unakku 18
Jaal: The Trap (2003)
Jay Jay (2003)
Dhool (2003)
Hum Ho Gaye Aap Ke (2001)
Minnale (2001)
Chitram (2000)

Original Name: Siva Sankara Vara Prasad Konidela
Nick Names: Chiru, Megastar

Chiranjeevi was born on 22 August 1955 at Narasapur, Andhra Pradesh, India

He was a student of the famous Madras Film Institute and later became a professional film star. His first public performance was in a government parade ballet at the Republic Day celebrations on January 26, 1976.

His roles in movies such as Abilasha, Adavidonga, Chantabbayi, Challenge, Gang Leader, Master, Kondaveeti Donga, Kodama Simham, Indra, Tagore etc. were all block busters in Tollywood. Chiranjeevi isn’t just limited to Tollywood. He made foray into Hindi movies where he earned considerable fame. His lead role in Pratibandh released in 1990 made him popular in Bollywood.

He is married to Konidela Surekha on February 20, 1980 and is blessed with two daughters Susmita and Sirija, and one son Ramcharan Teja. His brothers Nagendra Babu and Pawan Kalyan are both into movies aswell. Nagendra Babu is an actor and a successful producer while his second brother Pawan Kalyan has turned up as a successful actor in a very short span.

With the help of Chiranjeevi Charitable Trust more than 20,000 people have donated blood and more than 10 lakh people have pledged their eyes. Chiranjeevi also assists people for medical expenses in genuine cases.

Address of Chiranjeevi Charitable Trust

Chiranjeevi Charitable Trust,
6-3-345/16, Hindi Nagar, PanjaGutta,
Hyderabad - 500 034
Telephone: (040)-335 3114

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Nishikanth Kamath’s ‘Evano Oruvan’, a Tamil adaptation of Marathi film Dombivily Fast by the same director, tries to focus on the disgusting anomalies of the system.

The film opens with showing the routine of a family that lives in the outskirts of Chennai. The routine is full of struggles for various things like water, space in a train, time to relax, and of course, money.

Sridharan Vasudevan (Madhavan) is constantly disturbed by the corruptive and insensitive system.  He is too sensitive to tolerate these things. He is too honest to indulge in dubious methods to fulfill his desires.

Result? He becomes unfit in the society. He is humiliated by everyone. His honesty is perceived as weakness by his wife (Sangeetha). The submissive man is provoked by his wife. Provoked by his colleagues. Provoked by the shop keepers.

The pressure grows. It gets more and more intensified by each passing day. One day he bursts into action. He turns violent.

The violence puts him in more isolation. He swings into impulsive action whenever and wherever he sees injustice. He is now chased by the police. Finally he is defeated but his actions touch the right chord in the public conscience.

Nishikanth Kamath has successfully depicted the pressure undergone by an ordinary citizen, who wants to live according to the laws and rules. The metamorphosis of the protagonist is convincingly portrayed. Nishikanth hasn’t shown him as a superman who could bring about miraculous change overnight. He has shown the power of righteous anger of an honest man and the limitations of an average middle class man. He raises sharp questions against the system on behalf of the ordinary citizen without providing any solution.

The director has conceived and executed many scenes well. The telephonic conversation between husband and wife is one such scene. The two living in two different worlds unsuccessfully trying to communicate with each other has been excellently portrayed. Seeman’s introspective conversation with his wife in the midnight too stands out. The investigation process – particularly the interrogation with the wife – is credible. The character of the beggar boy is etched out well.

The director however, slips in his approach to the script and the concept. Though Sridharan’s outburst against the shop owner is a stupid act, it can still be accepted as a natural outburst of a terribly disturbed man. But the stupidity continues and the film moves on the same path. The film struggles to move ahead. Madhavan and Seeman keep on churning out thought provoking messages. The ending is touching but not revealing.

If you look in to the concept, you feel less convinced. The focus on social deceases is not new to Indian cinema. The movie tries to approach the whole issue from an ordinary citizen’s perspective. It doesn’t offer any solution. But it shows the violence of a frustrated man. Does the director suggest that everyone should be ready to come to the streets to fight the system? But then he also advises through an old man that this method is not acceptable.

What does Nishikanth want to convey? Is he just content by highlighting the problems? Does he want to warn about a possible middle class upsurge against the system? Does he, at the same time, want to advise the middle class that violence is not the solution? Or does he just want to tell you the story of Sridharan Vasudevan?

Why can’t Nisjikanth see thousands of youth in India sacrificing their comforts to make a difference in the society? Why can’t he see many middle class citizens go beyond criticizing the society and render their services to see a better world? There is no doubt that Nishikant has made an honest attempt to highlight the darker side of our society and the system. But he has done it with some striking inadequacies.

Performance wise, Madhavan has done a commendable job as Shridharan Vasudevan. He has amazingly handled varied emotions of agony, despair, and anger. The metamorphosis of Sridharan is credibly portrayed. He has successfully underplayed the emotions in many places. His outburst in the midnight scene too is effective.

Seeman as a police officer with heart and self criticism is outstanding. He has never gone overboard. He has shown a lot of improvements as an actor. His successful rendition could well make him a full time actor.

Sangeetha has once again proved her caliber. She has handled her role as a middle class housewife with ease. Her performance is almost perfect. She excels in the scene when she blasts her husband for his inaction and the scene when she breaks down after losing him.

Te background score by P. Sameer is highly effective. The camera work by Sanjay Jadav is marvelous. The visual quality is superior and the lightings are natural. G.V. Prakash Kumar’s tune for the sole song is touching.

Madhavan’s effort in penning the dialogues is the surprise of the movie. The actor has proved his mettle as a writer too.

Overall, Nishikanth has made a sincere and commendable effort. He has executed many scenes well and extracted some top class performances. Had he worked more meticulously on focusing his ideas and the way they have been translated into a film, ‘Evano Oruvan’ could have been a memorable experience.

 

Right from Bharathi Kannamma to Thavamai Thavamirundhu, social responsibility had travelled a long way with Cheran. The director, who raised his voice against caste system in Bharathi Kannamma, stressed the needs of differently-abled persons in Porkalaam. After expressing his desire for good governance in Desiya Geetham, Cheran then portrayed the lives of two young men with foreign dreams in Vetri Kodi Kattu. His film Pandavar Bhoomi talked about the happenings of a family and took audience to their own nostalgic memories.

Of late, Cheran himself became a hero and acted in critically acclaimed movies like Autograph and Thavamai Thavamirundhu. Adding yet another feather to his cap, the actor-director has now come out with Mayakkannadi, reflecting the life of a man who aspires to become rich in a short span. However, focusing more in telling messages, Cheran looses his grip in making the movie a more interesting one. Anyhow, the creator inside Cheran deserves laurels, for his never-ending penchant to give meaningful movies to masses.

Playing a simple character of a hair stylist (Kumar) aspiring for the moon, Cheran finds Navya Nayar (Maheswari), in the same wavelength. Kumar and Maheswari try all means to become rich. Kumar finally decides to try his luck in cinema, but in vain. Losing his job, Kumar lands up in the streets fighting for his survival. Sequence of events (cliched) finds Kumar landing in a job with an entrepreneur dealing in drugs. Behind bars, Kumar realises the hard truth that dreaming big beyond one’s means in an invitation to disaster.

A reformed Kumar comes out of the jail to begin his life afresh. Once his greed vanishes in thin air, he understands the intricacies of life and decides to do what he knows best - the scissor is back in his hand.
Cheran has tried to mirror the aspirations and dreams of the middle-class people living in a metropolis. The message for the youth is to maintain a dignity of labour, develop a passion for work and wait for the results to happen. Navya Nayar, shows her acting talent in each and every frame of the film.

The highlight of the movie is Dwarakanath’s cinematography and Ilayaraja’s catchy background scores. Though clear of his intentions, the lengthy dialogues and the duration of the movie is a hindrance to the pace. Mayakkannadi - True reflections.

Director -Cheran
Producer - Subbu
Music - Ilayaraja
Cast -Cheran, Navya Nayar, Radharavi