Tanikella Bharani mentions right off the bat that meeting reporters at a press meet is something he does rarely. While character actors like him appear in multiple films a year, which makes it harder for reporters to pin down a specific event to base a set of queries around, Bharani also mentions another reason why his interactions with the press are so far and few in between. “I was not invited to talk to the media when I was starting out. Even when I did, the tone with which I was asked to join was very flippant, almost like an afterthought. Experiences like these made me decide that I should only talk when I am specifically asked to, period.” 

The actor is quick to mention that his role in Peddha Kapu-1 is not only quite significant, but also unlike his conventional father roles lately. “I am tired of these father roles and I am actively avoiding them. Broadly speaking, there are only two kinds of fathers out there. One who says, ‘Oh, I will kill you if you marry this girl.’ or another who goes, ‘You loved this girl, that’s great, now listen to how I wooed your mother’. I have played a father in atleast 300 films. I have acted as a dad this year in 18 films alone. I am done.” declares Bharani, laughing. 

Cutting a refreshing contrast amidst the series of character roles, the actor speaks with pride and fondness about writing Telugu dialogues for the Ponniyin Selvan duology. Talking in length about his return to screenwriting, Bharani says, “I am too old to work as a writer for directors, comply to their diktats as they ask for multiple rewrites. But I go way back with Mani Ratnam. I have also worked with Suhasini in many films. I was supposed to work with him in Thalapathi (1991) but after a look test, he very politely told me that I was too young for the role. Since then, I have always wanted to work with him. While I was doing patchwork for Acharya (2022), I got a call from Madras Talkies. I initially thought I was contacted for an acting role, but it was for writing dialogues. I was shocked, I have not written in forever.” 

Continuing to talk about his association with the film, he says, “The Tamil spoken in the PS films was very archaic. For the Telugu version, Mani wanted something more accessible. It was not supposed to be too pedantic or too modern.We took a month to come with all the lines for Telugu dialogues.” 

The writing gig also led Bharani to provide his voice for the character of Jayaram, who played the role of the Vaishnavaite spy Alwarkadiyan Nambi in the film. Speaking about his association with Jayaram, Bharani says, “I got a lot of compliments for my voice acting in the films. But I was so much in awe of Jayaram’s performance. He was brilliant. As a matter of fact, we were working together in Dhamaka (2022), when PS 1 came out. I immediately enquired about his whereabouts, rushed to his caravan and touched his feet. I told him I loved his performance and that he might even get a National Award for it.” 

Quickly ending the retelling of that sentimental anecdote, Bharani quips, laughing. “Okay enough of Ponniyin Selvan, lets talk about Peddha Kapu. Isn’t that the reason why we are here today?” The actor continues, “I play a frustrated intellectual in Peddha Kapu, you see roles like these mostly in art films. He is a schoolteacher to be precise, frustrated with the wrongs in the society. The entire film is a brainchild of the director’s vision but I am more of an audience surrogate here, providing a bit of the outsider’s perspective. It is a great role, easily the best I have done in recent times.”

Speaking more about the film and his association with Srikanth Addala, the director of Peddha Kapu, Bharani says, “No doubt, Peddha Kapu is going to be a very bold film. And it is definitely different from the family-oriented, philosophy laden films he has made earlier. But he has retained the Telugudhanam and the Godavari nativity. But this is a very angry film.I enjoyed working in this film a lot, it is going to be one of the most memorable roles in my career.” 

When enquired upon what Bharani considers as his career’s most memorable roles, the actor hesitates to choose. “I have done 800 films in the span of four decades. How can I choose?” he asks. But upon prodding a little, requesting him to name a few for the sake of the interview, the actor picks Mathru Devo Bhava (1993), Ladies Tailor (1986), Sri Kanakamahalakshmi Recording Dance Troupe (1988), Shiva (1990), Manmadhudu (2002) and Athadu (2005). “Sometimes it is not even about the length of the role, as much as it is about the impact. For instance, I played a very small role in Gaddalakonda Ganesh (2019), that of an assistant director. I got more than 100 calls from ADs saying my role resonated with their experiences in the film industry.” says Bharani.

Bharani has not returned to direction after helming the critically acclaimed Mithunam in 2012. Does he have plans to make a film in the near future? He replies grimly. “There is no market for the kind of films I want to make, to be honest. People say OTT is an avenue for films that may not be feasible for a theatrical release, but that space has become thoroughly commercial as well. I cannot possibly make such violent, profanity-laden content.” 

So does he believe the parallel cinema aesthetics of a K Viswanath, a Bapu and a Tanikella Bharani are truly dead? “No, it will be back soon. After a man eats every kind of food and goes to a doctor with an upset tummy, he will be  asked to eat beerakaya paalu, no? Similarly, there will be a time when people will find themselves tired of the things they are watching now, and will return back to something more mellow and sublime.” assures Bharani, with the confidence of a veteran who has seen it all.  

SS Rajamouli will be presenting a biopic on the birth of Indian cinema. In an announcement made on Tuesday morning, the star director has announced that he will be backing a biopic unlike any other, one that delves into the birth of Indian cinema. The film is titled Made In India. This announcement came forward with a video which declared the film's title, key premise and collaborators. Made In India is directed by Nitin Kakkar, and produced by Varun Gupta and SS Kartikeya. Kartikeya has previously produced his father Rajamouli's films RRR as well as the Baahubali film series. 

Nitin Kakkar is a Mumbai-based filmmaker known for helming features like Filmistaan (2012), Mitron (2018), Notebook (2019) and Jawaani Jaaneman and Ram Singh Charlie, both of which came out in 2020. It may be noted that Filmistaan, Nitin's maiden directorial did delve into the meta-theme of cinema, albeit from the lens of India-Pakistan relations. His second film Mitron is the official Hindi adaptation of the Telugu romantic comedy Pellichoopulu (2016), thus making Made In India his second film with a Telugu connection. It may be noted that Made In India sounds similar to Make In India, which is the current national administration's catchphrase to promote indigenous industries. Rajamouli's previous film RRR, which also won an Academy Award, has been criticised for its soft depiction of Hindutva, which is an ideology favoured by the central government. 

When I first heard the narration, it moved me emotionally like nothing else.

Making a biopic is tough in itself, but conceiving one about the FATHER OF INDIAN CINEMA is even more challenging. Our boys are ready and up for it..:)

With immense pride,
Presenting MADE IN INDIA… pic.twitter.com/nsd0F7nHAJ

— rajamouli ss (@ssrajamouli) September 19, 2023

In addition to presenting Made In India, Rajamouli is also prepping ahead for his next directorial SSMB 29. The yet-to-be-titled film, billed as a globetrotting adventure, will be headlined by Mahesh Babu. 

 Made In India might in all likelihood delve into the life of Dadasaheb Phalke, the director of India's first film Raja Harishchandra, which is probably why the film will also be releasing in Marathi, in addition to the pan-India list of Telugu, Hindi, Tamil, Malayalam and Kannada. 

HYDERABAD: SS Rajamouli on Tuesday announced that he will be presenting the upcoming feature film Made In India, a biopic on 'Father of Indian Cinema' Dadasaheb Phalke.

The RRR filmmaker said the script moved him emotionally when he heard the narration.

"When I first heard the narration, it moved me emotionally like nothing else. Making a biopic is tough in itself, but conceiving one about the FATHER OF INDIAN CINEMA is even more challenging.

Our boys are ready and up for it. With immense pride, Presenting MADE IN INDIA," Rajamouli wrote on X, formerly known as Twitter. He also shared the announcement teaser, which described the upcoming feature as the "biopic of Indian cinema".

Made In India will be directed by Nitin Kakkar, known for films such as Filmistaan, Mitron and Jawaani Jaaneman.

When I first heard the narration, it moved me emotionally like nothing else.

Making a biopic is tough in itself, but conceiving one about the FATHER OF INDIAN CINEMA is even more challenging. Our boys are ready and up for it..:)

With immense pride,
Presenting MADE IN INDIA… pic.twitter.com/nsd0F7nHAJ

— rajamouli ss (@ssrajamouli) September 19, 2023

The venture also marks Rajamouli's son SS Karthikeya's debut as a film producer.

He was credited as the line producer of RRR

"It's been years since I wanted to fulfil my dream of becoming a producer. The moment has come.

'MADE IN INDIA'.With utmost responsibility, taking this up as a challenge," Karthikeya wrote on X, Varun Gupta is also attached as a producer.

Dadasaheb Phalke, referred to as the 'Father of Indian Cinema', made the first-ever full-length Indian feature film titled Raja Harishchandra in 1913.

Born in Trimbak in present-day Maharashtra, the filmmaker's real name was Dhundiraj Govind Phalke.

He went to London to learn filmmaking from Cecil Hepworth and made his directorial debut in 1913 with Raja Harishchandra, India's first full-length feature.

In his career spanning over 19 years, he made 95 movies and 27 short films.

In 1969, the central government paid homage to the visionary filmmaker by dedicating an award in his name, the Dadasaheb Phalke Award, which recognises lifetime contributions to Indian cinema.

Made In India marks Rajamouli's first project as a presenter after the global success of his Telugu period action drama RRR, which won the best original song award for "Naatu Naatu" at the Academy Awards earlier this year. The makers are yet to announce the cast and other details about the film.

HYDERABAD: Tollywood actor Navdeep has once again found himself in the spotlight due to his alleged involvement in a Narcotic Drugs and Psychotropic Substances (NDPS) Act case, following the arrest of eight individuals, including three Nigerians.

The arrest by the Telangana State Anti-Narcotic Bureau (TS NAB) and Gudimalkapur police has exposed the names of several prominent individuals among the eight, including the son of a former MP Vittal Rao, two associated with Tollywood, a techie and a poker games organiser. During the operation, the police seized items valued at a total of Rs 1.1 crore, including cocaine, MDMA and ecstasy pills worth Rs 10 lakh.

However, Navdeep, who was said to be absconding, took to X and stated, “That’s not me, gentlemen. I’m right here. Please clarify, thanks (sic).”Meanwhile, Baby movie director Sai Rajesh received notices from the Hyderabad City Police for portraying the consumption of ganja in the film without including any warnings.

Addressing the media, TS NAB director and Hyderabad Commissioner of Police (CP) CV Anand said, “The recent arrest on August 31 of three individuals associated with a Tollywood financier led to the arrest of the current eight suspects. The investigation pointed to Bengaluru, revealing the involvement of three Nigerians: Amobi Chukwudi Muonagolu, Igbawre and Thomas Anagha Kalu. The trio lived illegally in Bengaluru, with Amobi being the prime accused, involved in drug sales through his association with a football club. They sourced synthetic substances from Bengaluru residents. During the probe we found the chain of operations led to consumers in Hyderabad through one Ram, who is on the run.”

Five of the arrested persons were found to have procured psychotropic substances from the three Nigerian offenders in Bengaluru. They include Devarakonda Suresh Rao, the son of former MP Vittal Rao, Tollywood associate Kolli Ramchand, techie and party organiser Kurapati Sandeep, Meghana director Anugu Sushanth Reddy and poker organiser Pagalla Srikar Krishna Praneeth. The investigation further revealed the involvement of 11 individuals associated with Tollywood, including actor Navdeep, all of whom are currently absconding.

“Amobi operates an association in Bengaluru under the name of the All India Nigerian Students and Community Association. They raise funds through a trust called ‘Help for Bookie and Innocent’ to cover expenses related to deportation, bail and legal services for their community members,” Anand said.

The CP said the information from previous cases led them to Bengaluru and that they will be investigating drug peddling activities by Nigerian residents. Meanwhile, evidence obtained from the mobile phones of the suspects, both current and past, will be examined, and arrests will continue regardless of the individuals’ prominence in Tollywood, he added.

We had earlier reported about the rumours of the Prashanth Neel directorial Salaar getting indefinitely postponed. The heady shuffling of release dates, with a handful of Telugu films calling dibs on the coveted September 28 long weekend release window added more fire to the speculations. On Wednesday, Hombale Films took to social media to announce that their Prabhas-starrer is indeed getting postponed. 

The banner writes on X (formerly Twitter), “We deeply appreciate your unwavering support for Salaar. With consideration, we must delay the original September 28 release due to unforeseen circumstances. Please understand this decision is made with care, as we’re committed to delivering an exceptional cinematic experience.

Our team is working tirelessly to meet the highest standards. The new release date will be revealed in due course. Stay with us as we make the final touches on Salaar Ceasefire and thank you for being a part of this incredible journey.”

As of now, Skanda - The Attacker and Peddha Kapu-1 are hitting theatres on September 28 and 29 respectively. In the wake of Salaar’s postponement, the makers of Chandramukhi 2, which stars Raghava Lawrence and Kangana Ranaut, have also pushed their release date from September 15 to September 28. 

BENGALURU: "Salaar" will not hit the screens on its scheduled release date of September 28 due to "unforeseen circumstances", the makers announced Wednesday.

In a statement on X, production house Hombale Films said it will reveal the new date of the Prabhas-starrer in due course.

"We deeply appreciate your unwavering support for #Salaar. With consideration, we must delay the original September 28 release due to unforeseen circumstances. Please understand this decision is made with care, as we're committed to delivering an exceptional cinematic experience. Our team is working tirelessly to meet the highest standards," the banner said in the post.

We deeply appreciate your unwavering support for #Salaar. With consideration, we must delay the original September 28 release due to unforeseen circumstances.
Please understand this decision is made with care, as we're committed to delivering an exceptional cinematic experience.… pic.twitter.com/abAE9xPeba

— Hombale Films (@hombalefilms) September 13, 2023

The first part of the pan-India film series, titled "Salaar Part 1: Ceasefire", is billed as a big-budget action adventure.

It is directed by Prashanth Neel of the "KGF" franchise fame and produced by Vijay Kiragandur.

"The new release date will be revealed in due course. Stay with us as we make the final touches on #SalaarCeaseFire and thank you for being a part of this incredible journey," Hombale Films further said.

The film will also feature Prithviraj Sukumaran, Shruti Haasan, Eshwari Rao, Jagapathi Babu and Sriya Reddy.

Since its theatrical release, notable film personalities have lauded Anushka Shetty and Naveen Polishetty- starrer 'Miss Shetty Mr Polishetty', including acclaimed director Rajamouli. Actor Mahesh Babu is the latest celebrity to express his appreciation for the film.

Taking to his Twitter ( formerly X ), Mahesh Babu wrote, " Miss Shetty Mr Polishetty... A complete laugh riot… Thoroughly enjoyed it with the family…NaveenPolishety is spot-on with his comic timing and Anushka Shetty was brilliant, as always. Congratulations to Mahesh Babu P, UV Creations and the entire team on its success!" 

#MissShettyMrPolishetty... A complete laugh riot… Thoroughly enjoyed it with the family… @NaveenPolishety is spot-on with his comic timing, and @MsAnushkaShetty was brilliant as always. Congratulations to @filmymahesh, @UV_Creations and the entire team on its success!!

— Mahesh Babu (@urstrulyMahesh) September 9, 2023

Directed by debutant filmmaker Mahesh Babu P, 'Miss Shetty Mr Polishetty' is a romantic comedy. The film, set in India and the UK, revolves around a woman's quest for a sperm donor. Anushka Shetty plays the role of a chef, while Naveen plays the role of a stand-up comic.

In addition to the titular leads, 'Miss Shetty Mr Polishetty' also stars Sonia Deepti, Jayasudha, Abhinav Gomatam, Tulasi, Murali Sharma, Nasser and Harshvardhan, among others. 

MSMP is produced by Vamsi and Pramod under the banner UV Creations. While they have previously worked with Anushka in Bhaagmathie, this will be their maiden project with Naveen. Nirav Shah is the film's cinematographer, with editing by Kotagiri Venkateswara Rao and music by Radhan.

(This story originally appeared on Cinema Express)

Little will indeed prepare you for an interaction with a star in a world filled with perceptions. Accessible, inaccessible, humble, arrogant, nice, rude. And the list goes on. But Anushka Shetty disarms you of your notions within minutes of talking to her, with a soft disposition that is extremely rare to come across. Delivering some free-flowing yet markedly composed responses, that truly made this interview feel like a chat, the seasoned actor spoke to Cinema Express about her latest release Miss Shetty Mr Polishetty (MSMP), her takeaways from 18 years in the biz, reflections on human nature, and more. 
Excerpts 

You were last seen in the Prime Original film Nishabdam back in 2020, so the audience will be seeing you onscreen after a long time. How have the last few years been like, with the pandemic and your sabbatical? 
I took a break after Bhaagmathie in 2018 for personal reasons. I agreed to do Nishabdam because the production house told me that this would be shot and wrapped up in a couple of months. It was initially supposed to be a silent film, which really got me to step out of my comfort zone. But for the most part, I was away from the arclights, and got this much-needed break. For the last year and half, I have been listening to scripts and slowly signing projects. 

MSMP is a romantic comedy, it feels like you have attempted something in this space way back in 2015 with Size Zero/ Inji Iduppazhagi...  
Well, if you are talking about comedy, yes there is comedy in both these films. Anvitha Ravali Shetty, my character from MSMP is the antithesis of Size Zero’s Soundarya. While Soundarya was a very optimistic character, someone who believed in romance and the whole concept of being swept away by some Prince Charming, Anvitha does not believe in marriage at all. That said, I feel our director has really presented this film with a lot of lightness and warmth. 

Could you speak a bit more about your character and how this film came your way? 
Mahesh garu, our director, and I had a common friend, Vinay garu. He also knew the production house and somehow got all of us together. This was back in 2019. I really liked the entire story and not just my character. It isn’t often that everybody connects to a story but that is what happened here. There were some delays owing to the pandemic but one thing lead to another, and here we are. 

You have worked with some of the biggest filmmakers throughout your career, be it SS Rajamouli, Gunasekhar or Kodi Ramakrishna. What is your headspace like when you are working with someone newer or less established?
When we first met Mahesh garu, we were all floored by his vision. It started from there. At the end of the day, I am a director’s actor. As much as possible, I like to mould myself into a director’s vision. He is a very easy person to work with and he knows what he wants exactly, so it was all smooth sailing. 

The vision you referred to earlier, is it pertaining specifically to the characters…
When I say vision, I generally mean the story.  When people come to me to narrate a story, I really 
prefer to listen to the whole story, like an audience. As a film’s key collaborator, you also become its first audience.  
The story comes first, then the characters. 

Your character Anvitha does not want to get married. You are not married in real life as well. Did these parallels between real and reel life impact the performance? 
Unlike Anvitha, I genuinely believe in marriage and family. But I am also of the belief that marriage must happen to you organically, and it is not something you can plan like a corporate event. We do tend to perceive our lives in strictly black-and-white terms even if there is a lot of grey. Maybe the greys Anvitha carries, I also carry. Other than that, there are no commonalities whatsoever on the marriage front.  

A lot of the roles you are known 
for were powerful but also very 
traditional. MSMP seems to be more progressive in comparison, especially in terms of the character being career-oriented, not into marriage or children just for the sake of it, etc... 
Well, more than progressive, I would say my character has a strong value system. She is very particular about her work. There are certain reasons about why she does not want marriage, which people will know when they see the film. And again, people do not live in these mutually exclusive black or white, traditional or progressive binaries. When I say grey, I don’t necessarily mean it in a bad way. Our decisions are shaped by systems and thought processes more personal and complex than what one otherwise imagines them to be like.  

You have been headlining films for a very long time, since Arundhati. Now, it has become more common for a female actor to be the film’s principal protagonist. What was this like back then? 
Arundhati was the fourth film I signed, and this happened while I was working in Vikramarkudu. I was very clueless and was guided throughout by director Kodi Ramakrishna garu and producer Shyam Prasad garu. It was the chance they took on me that set the course for all the strong roles that came my way later. So, to answer your question, I never believed that I was headlining anything. There are so many people involved in making a film. An actor is just one part of it. And more than me getting credit for playing a strong female protagonist, we must credit the writers who have written such characters, the directors who shaped them and the producers who took a gamble and invested money in such films. 

But then, you did become a huge star along the way. You became the person an entire film could rely on, eventually. 
I don’t believe I can support the entire film. A film wouldn’t work now just because I have put in my efforts now, would it? It is a team effort. I am at best, an add-on.

You seem to look back at your journey with a lot of humility…
It is not just humility. You can have an outstanding story in your hands tomorrow, but no producers to back that up. You can have a great director and banner, but not a decent script.  Now you can have a proper script, director and producer, but no decent technicians, do you think that film would work? It is unfortunate that a lot of people don’t get credit for the work they do. 

So humility aside, what kept you going all these years? 
A fair amount of learning and unlearning. Things change all the time, so it does not always bode well to walk around and say, “Oh look at my experience.” For me, that is trouble. It is good that one is experienced, but there is always something new out there and one must be open to the possibilities of experiences, learning, and magic that can unfold right there. There is still a lot of intrigue and surprises this medium still has in store for me. 

You are making your Malayalam debut soon, with Kathanar - The Wild Sorcerer...
It is a fantasy film. I have definitely not played a character like this, to date. It is directed by Rojin Thomas. 

I really enjoyed his previous film Home, which I watched even before meeting him. It has been a great experience so far, working in the film. 

Are there any projects in the offing, in Telugu or Tamil? 
There are a couple, but I would rather that the producers come forward to make the announcements.

Vijay Deverakonda attended an event in Visakhapatnam on Monday to celebrate the success of his latest film Kushi, a romantic comedy co-starring Samantha Ruth Prabhu. As he stood before his adoring fans, Vijay not only shared his happiness but also made an announcement, stating his intention to share his earnings from the film with those who have supported him throughout his journey. He surprised everyone by declaring his plan to distribute INR 1 lakh to 100 families each.

Addressing the ecstatic crowd in Telugu, Vijay said, “I am announcing the distribution of one crore rupees to 100 families in order to share my joy with you. Each of the 100 families will receive one lakh rupees. This money is from my personal account.” The announcement was met with resounding cheers and applause from the audience. Vijay assured that the funds would be distributed to the 100 chosen families within a week or ten days.

Just IN: Vijay Deverakonda to give ₹1 lac each to 100 families in the next 10 days.

Total - ₹ 1 cr

||#Kushi | #VijayDeverakonda|| pic.twitter.com/mpvGfO2t8H

— Manobala Vijayabalan (@ManobalaV) September 4, 2023

This act of generosity is not the first of its kind from Vijay. Earlier this year, he sent 100 of his fans on an all-expenses-paid trip to the scenic destination of Manali.

According to reports, Vijay expressed his desire to not only achieve financial success but also to bring happiness to his parents and gain respect in society. He emphasised his commitment to his fans, acknowledging their pivotal role in the success of Kushi, even in the face of adverse circumstances such as fake reviews and negative comments. Vijay revealed that despite the attempts to tarnish the film's reputation, his fans' unwavering love and support triumphed.

As for Kushi, the film earned INR  16 crore on the opening day and subsequently achieved a domestic total of INR 39.25 crore till now. Directed by Shiva Nirvana, the movie also features Sachin Khedekar, Saranya Ponvannan, Murali Sharma, Lakshmi Jayaram, and Rohini in pivotal roles.

The movie narrates the love story of a couple who find themselves falling in love during their individual trips to Kashmir, ultimately defying their families' opposition to getting married due to alleged horoscope mismatches. However, as the story unfolds, their marital bliss faces a series of challenges due to emerging differences.

(The story originally appeared on Indulge)

In the era of self-aware celebrities, who very rarely present an unadulterated version of themselves, a refreshing candour is always welcome. But again, this candidness is only fun as long as the celebrity isn’t affected by the unfortunate problem of foot-in-the-mouth-itis. Throw away statements like “As a person, I am just learning terms like Feminist, Misogyny. I’m a chill guy, who only believes in ‘Live and let live.’ Jobless people create more problems. I hate things being dictated to me.

My girl should get along with my parents.” This might sound like the death knell for any other actor in this reactionary social media era, but for actor-producer Vijay Deverakonda, it is just another day in the office. By now, people are convinced that he is unlike any other celebrity in Indian cinema, and as he himself proudly puts it, “I believe there is none like me. That’s why I call myself THE Vijay Deverakonda. My parents named me so. I like that name. I want people to call me with my name, and love me for me,” says Vijay as he makes a stop in Chennai to promote his upcoming film, Kushi.  

In fact, it is this love that has allowed Vijay to brave the storm of back-to-back box-office failures that culminated in the biggest setbacks of his career, Liger. “I know people won’t accept this statement, but honestly, I believe every script that I’ve chosen was terrific. It was the execution that didn’t go as planned. For instance, an inside joke between friends wouldn’t translate well to others if the delivery and timing aren’t on point. That’s exactly what happened with films like Liger, NOTA, and even Dear Comrade,” asserts Vijay, who understands where his team didn’t hit the bull’s eye. “I might have done things differently, for sure, including different strategies for promotions. Every story I picked could have been huge, but it just didn’t happen.“

However, Vijay exudes complete confidence in Kushi, which marks his first collaboration with director Shiva Nirvana and actor Samantha. “I used to be a fan of Samantha, and I’ve always admired her as an actor. From there to creating a film together, it was an amazing experience. We know what she went through during the shoot. She has been a solid partner throughout this journey, and I’ve grown really fond of her as a person too,” shares the 33-year-old, who reveals that he too is bombarded by the question that plagues almost every unmarried Indian. “With Kushi also talking about marriages, my parents are also asking me when I’d get married. If my aunts and uncles want an excuse for a celebration, my parents are saying they are getting old. I just asked them to be fit and stay healthy, and ensure old age doesn’t affect them,” says Vijay giving his fans a new-age approach to that age-old question.

Moving on from marriages, Vijay delves into a world that is even more competitive and challenging… box-office success. Agreeing that he fondly misses the simpler times of just being an actor, Vijay shares that it is the success that has given him the power of choice. “Honestly, the reason why I want to deliver success is to gain more power to call the shots. I see myself as someone who knows what I want, and I have developed the instinct to guide the film to its right path. But it is only success that gives you the power, and I want that power,” says Vijay without mincing any words. However, when asked about his reluctance to return to production, he says, “When I’m shooting a film, I am not able to monitor every aspect of the other projects.

I am not able to do my best when doing multiple things simultaneously.” This self-awareness is what has been a trademark of Vijay’s career, and his evolution of being more than just an actor has affected his choice of scripts too. “With every film I do, there’s a sense of emotional pressure because those who believe in my cinema want me to succeed. Of course, there’s the pressure of business too. I own a theatre and I know how the success or failure of films affects the ecosystem.” But does it mean he will let go of a nice script if it doesn’t cater to the masses? “I have heard very niche scripts, but my instinct was to not do those films because I know they cater to a particular audience. I’m doing just one film a year, and I know people are waiting to watch it. So, I have to choose films having the bigger picture in mind,” shares Vijay, not before signing off with a statement that is a better fit for the persona of THE Vijay Deverakonda. “What I pick takes the next year of my life, so I have to pick what I enjoy. My enjoyment is paramount.” Now, that’s more like it.

Murali G, the cinematographer of Vijay Deverakonda-Samantha’s multi-lingual romance Kushi, has a long travel with the male lead that many don’t know of. “We go way back. I was the cinematographer for his supposed debut, which was planned to be launched around 2012. We worked closely through the pre-production process, only to see the project eventually get shelved.

Then there was another project that did not materialise as well. Finally, we started working together in Kushi after all these years,” says Murali, laughing. The cinematographer made his mark through his collaborations with acclaimed writer-director Pa Ranjith, with whom he has worked in Madras, Kabali, Kaala, and Sarpatta Parambarai.

Kushi is Murali’s sophomore foray into the Telugu film industry, having previously worked in Andala Rakshasi. “I am personally more inclined towards socially conscious cinema with a gritty, realistic tone,” he says, “But romantic films are a different ballgame.

There is an additional element of authentic emotion that translates into fantasy, and it is our job as cinematographers to project that abstractness onto the screen.” Kushi is choc-full of Mani Ratnam references, how much of the auteur’s style seep into the film’s visuals? Murali comments that the director’s collaborations with PC Sreeram (Alaipayuthey, OK Kanmani, Geethanjali, Thiruda Thiruda) were an inspiration for Team Kushi from the get-go.

“That said, we have carefully tread the line between inspiration and replication, making all due efforts to not fall into the latter category. Considering this is a Telugu film, the sensibilities do lean more towards the commercial side. Director Shiva Nirvana came up with some mainstream inputs, I balanced that out with my real isat i c perspectives.”

Murali has been selective throughout his career, working in just a handful of films over the last 18 years. Commenting on the same, he notes, “I don’t see cinema as a business and I like to be hands-on with my films, involving myself closely from the film’s nascent stage. So, the next destination in my pursuit of authentic artistic expression is direction.”

“Nothingness is the highest meditative state” declares Clax. A casual inquiry into the filmmaker’s unusual nom de plume led to a philosophical takeaway, also inadvertently setting the tone for the rest of my telephonic interview. Born as Uddaraju Venkata Krishna Panduranga Raju in the town of Vempadu near Bhimavaram, Andhra Pradesh —  the filmmaker, who is making his directorial debut with Bedrulanka 2012, reveals that he named himself Clax after grade 12.

“Growing up, I did not speak a lot of English. I would strike up conversations with friends as a way of learning the language and during that time, I used Clax as a filler word a lot. The word is plain gibberish. But much to my surprise, when I googled the word for fun, I was led to an urban dictionary page, that defined Clax as nothing. It got me all excited, and I decided to stick with the name. Contrary to popular perception, nothingness is a state of bliss.” 

The director’s rural Godavari background, combined with his nomenclature experiments also played a role in the creation of Bedrulanka, right down to its title. “We shot the film in a hamlet named Edhurulanka. Our story delves into the theme of fearmongering so I adopted some wordplay and changed the town’s name from Edurulanka (Island in the front) to a fictitious one named Bedurulanka (Island of fear). The ensemble cast in the film, presented in all their quirks and idiosyncrasies, have also been influenced by my growing up years in Vempadu.” tells Clax.

The writer-director tells that he began writing Bedrulanka 2012 way back in 2012 itself when he was working as an assistant director under Sudheer Varma for Swamy Ra Ra (2013). “I was watching Akira Kurosawa’s The Seventh Samurai (1954) and there is a dialogue in the film, about how people’s true natures burst out when they realise that there is no tomorrow. I juxtaposed the essence of this line with the hysteria around the 2012 Doomsday Conspiracy and that is how Bedrulanka 2012 was born,” says Clax.

When enquired about the genesis of his filmmaking career at large, Clax reveals that he stumbled into the world of cinema after moving to Hyderabad. “After a point, I could not live any longer in a village and wished to move out. My roommates in Hyderabad were film industry aspirants, I had a regular 9-5 job. During that time, I watched an Italian film called Life Is Beautiful (1997). That film really opened up my world, to the possibilities of cinema and the way it can influence people. It triggered my ambitions. I started reading books on filmmaking, became an assistant director and here I am.” quips Clax, who notes that his debut feature is the fruit of a decade’s worth of struggles. 

The trailer of Bedrulanka 2012 reveals a marriage of social satire with the more mainstream beats of a hero romancing a girl and beating up goons. Did that evolve naturally or were the latter elements integrated into the film to make it palatable to the masses? “I think very deeply, but I am not a serious guy. My film is shaped by this paradox of my personality.

The two elements you mentioned came from there as well. There was zero strategising or shoehorning on my part. There is no set formula for making an entertaining film. If there was one, everyone would be doing it by now. Art is a gamble. Whether you like it or not, that is more important. How a film is interpreted is not in your control, it depends on the person viewing it.” 

As Bedrulanka 2012 is inching closer to its August 25 release date, how does Clax hope his film to be perceived then? What can the audience expect from his film? “It will make you talk about things. I presented certain philosophies in a rather regular, everyday manner. There are jokes in the film that will make you laugh, but it will also make you think. The film will be like a slow poison, with definite takeaways. I can’t speak for others but I am fairly certain people will appreciate the film’s novel take on entertainment.” says Clax. 
 

Actor Naveen Vijay Krishna, the older son of Naresh, has played lead roles in Telugu films like Nandini Nursing Home (2016) and Oorantha Anukuntunnaru (2019) before  turned director with the recent musical short film, Satya. The Soul of Satya, a song from the short, was released on Independence Day. 

The song features a happily married couple played by Sai Dharam Tej and Swathi Reddy. When Sai leaves the city for his work, we see Swathi going through her pregnancy alone. Parallely, the story moves to Sai, a soldier posted in Kupwara who is safeguarding people during Operation Rakshak. The story traverses through the eyes of Swathi. 

Explaining the inspiration behind The Soul of Satya, composed by popular playback singer Sruthi Ranjani, Naveen Vijay Krishna says, “I have been instilled with patriotism ever since my childhood. My father always told me to not take my freedom for granted. I also grew up watching Shankar’s Indian. Every time I watched it, I used to cry. It served as a huge inspiration for me.” 

The opportunity to direct the short film came his way when Dil Raju Productions asked Naveen to make a music video from the perspective of a soldier’s wife. “It was during the research that I discovered stories of several veer naris who had joined the army after their husbands were martyred in war,” says the actor-filmmaker, who shares that understanding the point of view of the women in his family helped him shape the story better.

Incidentally, Sai Dharam Tej was a good friend of Naveen, and yet, he wasn’t the first choice for the video. “He heard the idea and wanted to do it. I told him that his fans would have a problem with him being a side hero, but he trusted me and my direction and came on board,” he says. 

Swathi and Naveen worked together on the 2005 Krishna Vamsi directorial Danger. “I have always admired her confidence and natural acting. In fact, after Subramaniapuram (Ananthapuram in Telugu), I became her fan.”

The Soul of Satya is part of a 23-minute short that is expected to be released after making the rounds in the festival circuit. Naveen credits his writers for carrying the essence of the song in Tamil and Hindi as well. While Vivek Ravi leads the writing in Tamil, Kadali Satyanarayana and Ritesh G Rao worked on it in Telugu and Hindi, respectively.

HYDERABAD: Fantasy comedy "Bro", starring Pawan Kalyan and Sai Tej, will start streaming on Netflix from August 25.

Featuring the real-life uncle and nephew pairing in the lead, the Telugu film released in cinema halls on July 28.

Netflix India shared the announcement on its official X page on Sunday.

"Time is usually precious, but this time it's POWERFUL.

BRO starring Pawan Kalyan and Sai Tej is coming to Netflix on 25th of August!" the streamer captioned the post.

The Samuthirakani directorial will be available to Netflix subscribers in Telugu, Tamil, Malayalam, Kannada, and Hindi languages.

"Bro" also stars Priya Prakash Varrier, Ketika Sharma, Brahmanandam and Subbaraju.

We have earlier announced that Dhanush will be working next with Sekhar Kammula for his 51st film. The makers of the film have announced on Monday morning that Rashmika Mandanna will be joining the film.

She will be paired opposite Dhanush for the first time. This is also the first time Rashmika will be working with director Sekhar Kammula. D51 is Dhanush’s second straight Telugu film after the Venky Atluri directorial Sir.

D51 is produced by Narayan Das K Narang, Suneil Narang and Puskur Ram Mohan Rao under the banner Asian Cinemas LLP, in association with Sekhar’s home banner Amigos Creations Pvt Ltd. Sonali Narang is the presenter of the film.

Asian Cinemas has also produced Love Story, Sekhar Kammula’s previous film, which starred Sai Pallavi and Naga Chaitanya. Rashmika will be seen next in Pushpa: The Rule, the highly anticipated sequel of the 2021 Sukumar directorial Pushpa: The Rise.

Nithin Krishnamurthy’s directorial debut, Hostel Hudugaru Bekaggidare, was released on July 21, and received both critical and commercial acclaim. With the film reportedly having grossed over Rs 20 Crores, the makers are set to present the film to the Telugu audiences.

Hostel Hudugaru Bekagiddare’s Telugu version, titled Boys Hostel, will be jointly presented by Annapurna Studios & Chai Bisket Films, and hit the screens on August 26. 

Hostel Hudugaru Bekagiddare, presented by Rakshit Shetty’s Paramvah Pictures, features mostly debutants, including Prajwal BP, Manjunath Nayaka, Rakesh Rajkumar, Srivatsa, and Tejas Jayanna Urs.

The film also has cameo appearances by Rishab Shetty, Pawan Kumar, and Shine Shetty, and notably introduced over 500 theatre artists to the silver screen.

Director Nithin Krishnamurthy, who played a pivotal role, has also produced the movie in collaboration with Varun Gowda, Prajwal and cinematographer Arvind S. Kashyap under the banners of Gulmohur Films and Varrun Studios.

Neuroscience of all things popped up in my mind while watching Bhola Shankar. Dr Anna Lembke, in her book Dopamine Nation, mentions that while many people associate dopamine with pleasure, the release of this chemical in our brains is also closely associated with pain.

According to the book, pain and pleasure are connected to each other, and when one leans too much towards pain, the body will reward it with some pleasure and vice versa. While this phenomenon is better understood by gym enthusiasts and substance addicts, I believe the mass cinema audience can also have a rudimentary knowledge of the same. 

Masala entertainer is a genre committed to making one feel cheery and jubilant. Even though it might sound counterintuitive to some, what makes a hero’s win feel greater is us vicariously experiencing pain through the protagonist’s downfall first.

The depiction of failure is the foundation for a story’s eventual, inevitable highs. This bears repetition in the context of Bhola Shankar, where one rarely experiences pleasure, despite the film continuously elevating the star. We are first introduced to a set of vaguely North Indian-looking antagonists whom we can never take seriously throughout the film. We have the smaller supporting characters treat Bhola Shankar (Chiranjeevi) as a god (at a Durga Puja event, someone says “ammagaru annagaru okesaari ochesaru”).

But there is hardly any pleasure in seeing the antagonist throw backhand elevations at the protagonist, and to have him say he can only be defeated by a ‘gangster, monster, destroyer’ segueing to Chiranjeevi’s intro sequence. Even if I had to walk into the theatre with the de facto assumption that Chiranjeevi is no less than a god — the star is put in a film where both action and dance sequences involve him gliding into different degrees of all-too-obvious and scarcely inspiring convenience. 

There is no palpable tension ever in any scene, just the star walking in a straight line firing guns which never run out of bullets and seekh-kebabing armies of men. The film continues its rampage of simplistic, low-effort treatment, be it in the way Maha (Keerthy) first meets Bhola or the way the film’s second set of siblings, Srikar (Sushanth) and Lasya (Tamannah) are treated throughout. The classic conflict of 'rich vs poor' is conspicuous in its absence, when Srikar mansion-owning, upper-middle parents land up to Bhola’s Howrah bridge-facing, working-class whereabouts to ask for Maha’s hand in marriage.

A part of me felt relieved to see Bhola resisting hitting Lasya in a moment of rage and calling out Srikar for stalking Maha, but the tiny upgrade in the way we treat women in mass movies is quickly forgotten in the film’s portrayal of the trafficking industry, which just shows us that the saviour template either needs a massive upgrade or a massive rollback.

While I have not watched Siruthai Siva’s Vedalam, which inspired Bhola Shankar, a film preaching the values of brotherhood — the sister played by Keerthy Suresh, without any doubt, succeeds at being blander than the sister she played in Siva’s Annatthe. It is a shame that Keerthy, who has given such beautiful and affecting performances in recent releases like Vaashi, Saani Kaayidham and Maamannan, is not getting such airtight, author-backed roles in the Telugu industry anymore. 

There is some anger and disappointment amongst fans about Chiranjeevi opting to do remake after remake and that is interesting to watch at one level because one of his fan-favourite films of Chiranjeevi is Shankar Dada MBBS, which was not an original film. I was six years old when Shankar Dada came out, which makes me wonder, “Would Bhola Shankar work out for six-year-olds today?" "Did Shankar Dada work out for 25-year-olds in 2004, after they have been used to seeing Chiranjeevi a certain way in the 80s and 90s?"

"Would Bhola Shankar be a much more enjoyable experience for a middle-aged audience from North India watching the Hindi-dubbed version of the film on his phone?" Such endless questions keep popping up in my head. It is certainly admirable that Chiranjeevi wants to make at least two films a year. After staying away from the limelight for more than a decade, he has definitely taken the ‘out of sight, out of mind’ adage to heart.

But stronger scripts, to put it very kindly, are the need of the hour for Chiranjeevi’s late career innings, lest one chooses to risk earning the ‘out of your mind’ reputation in the pursuit of staying in the picture all the time. 

Movie: Bhola Shankar
Cast: Chiranjeevi, Keerthy Suresh, Sushanth, Tamannaah 
Director: Meher Ramesh
Rating: 2.5/5

This copy originally appeared on cinemaexpress.com

With back-to-back releases — Acharya, Godfather, Waltair Veerayya and Bhola Shankar  — over the past couple of years, it is clear that Chiranjeevi is on a prolific streak at the box office. While this is the actor reinventing himself post his sabbatical and the pandemic, the release of Bhola Shankar is also the comeback for Meher Ramesh, the director of films like Kantri, Shakti, Billa and Shadow. Bhola Shankar is a remake of the 2015 Tamil film Vedalam, and Meher has assured that their film will provide the exact kind of entertainment Telugu audiences expect and love. Meher Ramesh chats to Cinema Express about helming a remake in 2023, working with Chiranjeevi and more…

You are returning to the Director’s chair after more than a decade. How did you feel when you first held that mic on sets after so long?
We started shooting for Bhola Shankar on November 15, 2021. On day one, we set up a set worth three crores with more than 700 extras. It was an action sequence, the one you have seen in a ‘Chiru Leaks’ video, of Chiranjeevi charging ahead with black sunglasses. Directors usually shoot such scenes after 50-60 days of shoot, but this is how we began Bhola Shankar. In a style fitting to the actor we call the mega star, we started the interview in a mega style.  The whole shoot was so easy, it felt like a picnic.

You speak a lot about how making this film was like a dream come true…
I have rewatched Chiranjeevi’s films back in the day at least 40-50 times. I know that there is a lot of chatter about the necessity of directing a remake in this day and age, but it was not only my dream to direct Chiranjeevi but it was also my dream to direct, or rather, to depict Chiranjeevi in the massy avatar he was known for. Bhola Shankar will bring back the 90s Chiranjeevi —  the star you saw in Gharana Mogudu, Rowdy Alludu and Gang Leader. After working with Chiranjeevi, my dreams as a filmmaker have all been fulfilled now. Everything I shall receive from now on is just a bonus.

Speaking of remakes, what drew you to Vedalam? Why did your team wish to adapt this particular film with Chiranjeevi in the lead?
Everyone calls Chiranjeevi annayya fondly. He is everybody’s honorary big brother. Everyone says times have changed and things are so different now, but some sentiments — the mother sentiment, the brother sentiment, the sister sentiment — are pretty much constant. My idea was to present Chiranjeevi as an annayya in this film, and marry this sentiment against the pressing issue of human trafficking while packaging it with all the ingredients necessary for a masala entertainer. Despite Bhola Shankar being a remake, we have made 70% changes to the original. The changes are a reflection of what I love about Chiranjeevi alongside what Telugu audiences look for in a film.

In this day and age, where films across languages are available to audiences at the click of a button, remakes are not as bankable as they used to be. Did you feel any such apprehensions when you decided to direct a remake?
No. It is not a risk as much as it is a task. Adaptation is not a new concept. When I was younger, people read a lot. We read novels like Abhilasha and Aakhari Poratam and knew what happened on every single page. Yet, it did not fade our interest or deter us from going to the theatres when we watched these books get adapted into films. Today’s generation does not read many books, they watch films instead. So film adaptations have become the norm of the day. But there are always ways to retell a story, either in a new format or in a new style for a new culture. This is the optimistic attitude with which we made Bhola Shankar.

As much as Chiranjeevi is known for his mass entertainers, he was also the epitome of class and acting prowess in films like Aapadbandhavadu, Rudra Veena and Swayam Krushi. Why do you think directors are not able to bring that side of Chiranjeevi out on the big screen today?
Forget about us bringing Chiranjeevi in such films, people are barely watching the kind of films you have just mentioned in the theatres anymore. It has become more of an OTT domain right now.

Mani Sharma has worked in many Chiranjeevi films, their collaboration was a USP of sorts for fans and even general audiences. But you have decided to go ahead with Mahati Swara Sagar, Mani Sharma’s son, as Bhola Shankar’s music composer…
You are right on the money, about the kind of value Mani Sharma’s compositions gave to Chiranjeevi’s films. But people who have watched Chiranjeevi’s movies 25 years ago have kids today who are all grown up. As his fan base expands, it is important to update with the times. Even in the Tamil industry, filmmakers are flocking to someone like Anirudh because he understands and represents the youth market. We wanted a young vibe for our film as well and Mahati Swara Sagar fits the bill. All the songs that came out so far, came out so well. I have penned a rap number as well, fans will enjoy the film’s music a lot.

What message do you have for the audience catching Bhola Shankar in the theatres?
If you can’t watch the film on the 11th, then watch it on the 12th, if you cannot catch it on the 12th, catch the film in the theatres on Independence day. But watch Bhola Shankar before Chiranjeevi’s birthday at your nearest theatre. This film will present the Chiranjeevi of our youth to the youth of today.

Raghavendra Rao is no stranger to introducing actors through his films. Many an actor, be it Mahesh Babu, Allu Arjun, Sridevi, Taapsee and more recently, Roshan Meka, were launched by the veteran filmmaker. Joining this list is Akash Goparaju, the son of singer and voice artist Sunitha, who is making his debut in Sarkaru Noukari.

The film had its teaser unveiled recently. While Akash admits that he had harboured acting aspirations from a very early age, having watched the industry in close proximity through his mother’s career, he admits he did not intend to enter the industry at this point in his life. “Everything happened without me planning or strategising as such. I finished my undergraduate studies recently. My plans to do my master's abroad were put on hold due to the pandemic, with the borders closing for two years. And in that stage of my life, around 2021, I got acting offers. People discovered me on social media and reached out. I got very lucky that way. So even if this was not how I anticipated my career would take off, I decided to enter the industry after the offers came around.”

Akash reveals that dance is the foundation of his acting dreams. “I loved dancing and playing the guitar. Performing in public helped me get rid of my awkwardness and inhibitions and really helped me put myself out there, with confidence.”

Sarkaru Noukari, written and directed by Ganganamouni Shekar, is based on a set of true incidents that have taken place in Kolhapur in the 1990s. Akash plays the titular government employee, a doctor to be more precise. Posted in a rural area, his presence causes a scandal when the villagers discover condoms in his bag.

The rest of the film deals with the sensitive topic of contraceptive awareness and fighting other related taboos. But any viewer of Telugu cinema can tell you that a film like Sarkaru Noukari is not only a novel enterprise in itself, but is also a rather unusual choice for Raghavendra Rao.

The man, known for his masala entertainers laden with double entendres, especially in his films’ music videos, is now backing a small-scale film on a social issue. Chiming in on the amusing context behind Raghavendra Rao’s inclusion in the project, “I think it is his greatest quality, he is always embracing new ideas and reinventing with the times. I am very excited that this is a different kind of film. I am excited that this is how I am beginning my career.”

When enquired about his first reaction when he heard the story of Sarkaru Noukari, Akash says, “As a movie lover, I love anything done differently. We all love commercial cinema but I respect filmmakers who think out-of-the-box. For example, when I saw 1: Nenokkadine, there are some commercial elements, but Sukumar also put a fresh, interesting spin on the film. I am drawn to these films and find myself excited when I see filmmakers take such risks. Sarkaru Noukari excited me for this precise set of reasons. It is not a sure shot commercial film, but that is what makes everything very exciting.”

After telling that Sarkaru Noukari is wrapping up post-production and that the makers will be announcing its release date soon, Akash closes the interaction by saying that he is not reading too many scripts at the moment. “I have been talking to a lot of people, I am being noticed, but people will only get some clarity about my calibre about my film is out. As of now, I am just waiting for Sarkaru Noukari to release.”

Priyanka KD, an influencer turned actress hails from a humble origin and has impressed the audience through social media platforms like Instagram.

In a recent interview with The New Indian Express Online, the actress expressed joy over her upcoming women-centric film in Telugu.

Priyanka said that she kick-started her career in modelling while she was in 11th grade. She recalled that winning a couple of best actress awards in a few drama competitions kindled her confidence in acting and drove her to pursue it as a profession.

She said that as a non-South Indian working in the South Indian film industry, she had to face difficulties in understanding the language. She added that her perseverance to learn the language properly helped her to overcome the barrier.

Priyanka found the experience in the Telugu industry to be refreshing and supportive. She appreciated the simplicity of South Indians.

She mentioned that social media platforms paved the way to showcase her talents.

Priyanka recalled that she attended more than 600 auditions without any connections or film background. She had to overcome her traditional Marathi family's resistance before entering the South Indian film industry.

Priyanka aspires to work with Allu Arjun and looks forward to doing challenging roles in films with strong content.

The actress believes that her versatile acting skills and dedication will help her to gain success in her endeavour.