He is the son of noted producer Prakash Reddy.Search: Mouna Ragam Telugu Serial Cast Wikipedia. He is primarily known for his prominent character roles in Sethu, Friends Panchathanthiram, Aayutha Ezhuthu, Pokkiri, Aegan, Muni 2: Kanchana and Kanchana 2. Kumaravatha Srinivasa Reddy, better known professionally as Sriman, is an Indian film actor who appears primarily in Tamil language films, and also a few Telugu language films.
Oh, and let’s not forget the overall message: Good Usually Triumphs Over Evil.Aayutha ezhuthu is an underrated film of Maniratnam. The life of selfless activist Michael (Surya/Ajay Devgan) is a Serve Your Society appeal, while self-serving yuppie Arjun (Siddharth/Vivek Oberoi) plays out a Redemption Is Always Possible scenario. The portion with hired killer Inba (Madhavan)/Lallan (Abhishek Bachchan) could well be titled Crime Doesn’t Pay.
Aayutha Ezhuthu Actor Veera How To Successfully Fold
For that matter, the relationship dynamics between Inba/Lallan and Shashi (Meera Jasmine/Rani Mukerji) echo those between Val Kilmer and Ashley Judd in Heat.Why look only towards foreign shores? Mani Ratnam’s own work is referenced more than anything else. There’s definitely a stylistic similarity – in the hyper-cut frenzy of the accident that links the three protagonists from three walks of life in the way this accident is revisited before branching off into each of their stories, chapter-titles and all. Indian actor Date of birth Place of birth Chennai, Nadu, India: Date of death Place of deathThe pre-release insinuation about Amores Perros being an inspiration turns out partly true. From the opening credits that zip across like speeding highway cars to the eye-popping climactic action sequence, Aayitha Ezhuthu/ Yuva is an explosion of filmmaking energy first – and secondly, only secondly, is it an example of how to successfully fold messages and ideas into an overarchingly broad entertainment.ITFA Best New Actor Award: 2004: Aaytha Ezhuthu. To this day Aayutha ezhuthu is my most fav movie done by Maniratnam.Sounds drab, right? It’s actually anything but.
The Arjun-Meera (Trisha/Kareena Kapoor) affair, in contrast, begins as a casual hormonal fling, which, again, differs from the more high-minded Michael-Radhika (Esha Deol) bond, born of friendship and shared ideals.These love stories unfold deliberately, and this helps to savour the relationships. Inba/Lallan and Shashi are bonded through the ages – as the song goes, he’s kabhi neem kabhi shahad kabhi naram kabhi sakht every loathsome trait comes with a loving one, and she just can’t let go. The dialogues often add vital humour to the drama – after a Lallan-Shashi showdown, she reveals she’s pregnant he retorts, “ Baap kaun hai?” – and had Virumaandi not already viewed the same incident from several viewpoints, Mani Ratnam’s bold, distinctive narration would have seemed even more sensational.Aayitha Ezhuthu/ Yuva isn’t all technical exterior its heart beats with three very different kinds of love. AR Rahman contributes not just a terrific soundtrack, but also an evocative background score with plaintive country-western guitar twangs, full-blooded Orffian chants and alaap-style vocalisations. Each scene delivers, through light and colour, the exact intended mood, without clamouring for look-what-a-great-shot acclaim. (His mother even exclaims, like Revathi in the latter movie, that she hates not knowing where he’ll turn up next – at a lockup or in a hospital.)The point is, the patches may be from all over, but why complain when the resulting quilt is so ravishingly crafted? Ravi K Chandran’s cinematography is exquisitely invisible.
You may wonder, for instance, why Arjun’s priorities shift so conveniently, after just a few meetings with Michael, but then you think back and say maybe it’s also because he’s fallen in love – his transformation is as much Meera’s doing as Michael’s.Finally, we get to the fourth quarter, and Mani Ratnam, after carefully spinning three engrossing narrative threads, suddenly throws his hands up in the air. When three lives are presented in three distinct quarters – as opposed to being detailed throughout the course of a film – only so much can be shown, so some extrapolation becomes necessary. Watching Radhika superstitiously tie a thread around Michael’s wrist, or hearing the US-crazy Arjun talk about tonsuring his children at the Pittsburgh Balaji temple, you see that, for all the posturing, religion is still a part of young India.At the same time, this movie about youth invites its audience to be a little mature, to dig in a little deeper.
Aayitha Ezhuthu may score over Yuva, but either one is way more exciting, more stimulating and more entertaining than anything we usually get to see.Copyright ©2004 The Economic Times: Madras Plus. Arjun in the Tamil version faces two life-altering experiences – with Michael’s mother, with Meera (at a railway station) – that his Hindi counterpart doesn’t, so it’s easier to accept the subsequent transformation of the former, the “ vellaikaaranukku kooja thookkara case” as Meera so eloquently puts it.So, yes, if you had to choose at gunpoint, go with Aayitha Ezhuthu, but no such persuasion should be needed to make you watch at least one of the versions. An early Michael-Inba brawl puts a personal face to their relationship, while Michael and Lallan (in Yuva) are just strangers till the accident.
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