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Writer Padmabhushan Review: రివ్యూ: రైటర్ పద్మభూషణ్
సుహాస్ ప్రధాన పాత్రలో నటించిన ‘రైటర్ పద్మభూషణ్’ (Writer Padmabhushan) ఎలా ఉందంటే..?
Writer Padmabhushan .. చిత్రం: రైటర్ పద్మభూషణ్; నటీనటులు: సుహాస్, టీనా శిల్పరాజ్, రోహిణి, ఆశిష్ విద్యార్థి, శ్రీ గౌరీ ప్రియ, గోపరాజు; సంగీతం: శేఖర్ చంద్ర; సినిమాటోగ్రఫీ: వెంకట్ ఆర్.శేఖమూరి; ఎడిటింగ్: పవన్ కల్యాణ్, సిద్ధార్థ్; నిర్మాత: అనురాగ్ రెడ్డి, శరత్ చంద్ర, చండ్రు మనోహరన్; దర్శకుడు: షణ్ముఖ ప్రశాంత్; విడుదల తేదీ: 02-02-2023
సుహాస్ అనగానే ‘కలర్ఫొటో’ సినిమానే గుర్తొస్తుంది. జాతీయ పురస్కారం పొందిన ఆ సినిమా తర్వాత నుంచి ఆయన కోసమే కొన్ని కథలు పుడుతున్నాయి. ఆ కథలు ఆయన్ని కథానాయకుడిగా మరింత బిజీగా మార్చేశాయి. ఆ పరంపరలో రూపుదిద్దుకున్న మరో చిత్రమే ‘రైటర్ పద్మభూషణ్’. మంచి ప్రచారంతో ప్రేక్షకుల దృష్టిని ఆకర్షించిన ఈ చిత్రం ఎలా ఉందో తెలుసుకునే ముందు కథేమిటో చూద్దాం ( Writer Padmabhushan) .
కథేంటంటే: పద్మభూషణ్ అలియాస్ భూషణ్ (సుహాస్) (Suhas) విజయవాడకి చెందిన ఓ మధ్య తరగతి కుర్రాడు. ఓ గ్రంథాలయంలో అసిస్టెంట్ లైబ్రేరియన్గా పని చేస్తుంటాడు. ఎప్పటికైనా రైటర్ పద్మభూషణ్ అనిపించుకోవాలనేది అతని కల. అందుకోసమని ఇంట్లో వాళ్లకి తెలియకుండా లక్షలు అప్పు చేసి తొలి అడుగు పేరుతో ఓ బుక్ రాస్తాడు. కానీ, పాఠకులతో ఆ బుక్ని చదివించడానికి పడరాని పాట్లు పడుతుంటాడు. కాపీలు అమ్ముడుపోక ఇంటికి తిరిగి తెచ్చుకోవాల్సిన పరిస్థితి. అప్పులకి వడ్డీలు కట్టలేక, కాపీలు అమ్ముడుపోక సతమతమవుతున్న దశలో పద్మభూషణ్ పేరుతో వెలువడిన మరో కొత్త పుస్తకానికీ, అదే పేరుతో ఏర్పాటైన బ్లాగ్కి మంచి పేరొస్తుంది. ఎప్పుడో దూరమైన బాగా డబ్బున్న మేనమామ తన కూతురు సారిక (టీనా శిల్పరాజ్)ని ఇచ్చి పెళ్లి చేయడానికి ముందుకొస్తాడు. ఊహించని ఆ పరిణామం భూషణ్ తల్లిదండ్రులకి ఎంతో సంతోషాన్నిస్తుంది. ఆ సంతోషాన్ని దూరం చేయలేక, తను రాయకపోయినా తనే రచయిత అని చెబుతూ పెళ్లికి సిద్ధమవుతాడు భూషణ్. ఇంతలోనే ఆ బ్లాగ్లో వరుసగా వస్తున్న కంటెంట్ ఆగిపోతుంది. దాంతో అసలు విషయాన్ని తనకి కాబోయే భార్యకి చెప్పాలనుకున్న భూషణ్ ఆ పని చేశాడా? లేదా? వీళ్లిద్దరి పెళ్లి జరిగిందా? ఇంతకీ రైటర్ పద్మభూషణ్ పేరుతో రచనలు చేసిందెవరు? అసలు ఆ పేరుని వాడుకోవాల్సిన అవసరం ఎందుకొచ్చింది? అజ్ఞాతంలో ఉన్న ఆ రచయితని పట్టుకునేందుకు భూషణ్ ఎన్ని పాట్లు పడ్డాడన్నది మిగతా కథ ( Writer Padmabhushan) .
ఎలా ఉందంటే: విజయవాడ పుస్తక ప్రపంచాన్ని ఆవిష్కరిస్తూ మొదలయ్యే కథ ఇది. రచయితగా పేరు ప్రఖ్యాతులు తెచ్చుకోవాలని, పెద్ద రచయితల సరసన తనని చూసుకోవాలని కలలు కనే యువకుడి పాత్ర చుట్టూ సాగుతుంది. ఈ నేపథ్యం కొత్తదే. రచనవైపు దృష్టిపెడుతున్న నేటి యువతరం తక్కువే కానీ, కథానాయకుడి పాత్రని అమాయకత్వంతో తీర్చిదిద్ది అందరికీ కనెక్ట్ అయ్యేలా చేశాడు దర్శకుడు. ఇంటిల్లిపాదీ కలిసి ఆస్వాదించేలా హాస్యం, మలుపులు, సందేశాన్ని మేళవించి కథని అల్లిన తీరు ఆకట్టుకుంటుంది. కథానాయకుడు తన పుస్తకాన్ని పాఠకులతో బలవంతంగా చదివించేందుకు పడే పాట్లు, కథానాయికతో ప్రేమ ప్రయాణంతో ప్రథమార్ధం సరదాగా సాగుతుంది. సినిమా హాల్లో సన్నివేశాలకి తోడు, కథానాయకుడి తల్లిదండ్రులుగా నటించిన ఆశిష్ విద్యార్థి, రోహిణిల మధ్య మిడిల్క్లాస్ నేపథ్యం కూడా హాస్యాన్ని పంచుతుంది. తాను రాసిన పుస్తకం అమ్ముడుపోక రచయిత వెనక్కి తిరిగి తెచ్చుకొనే సన్నివేశాలు మనసుల్ని కదిలిస్తాయి. పద్మభూషణ్ పేరుతో రాస్తున్న ఆ రచయిత ఎవరనేదే సినిమాలో కీలకం. విరామ సన్నివేశాల్లో మలుపు ద్వితీయార్ధంపై ఆసక్తిని పెంచుతుంది. కానీ, అక్కడే సమస్యంతా. హాస్యం మోతాదు తగ్గడం, కొన్ని సన్నివేశాలు సాగదీతగా మారడంతో కథ ముందుకు కదలదు. అసలు రైటర్ ఎవరనే విషయంలోనూ ఓ అంచనాకి ప్రేక్షకుడు వచ్చేస్తాడు. దాంతో పతాక సన్నివేశాలు పెద్దగా ప్రభావం చూపించవు. చివర్లో సందేశం ఆకట్టుకున్నప్పటికీ, భావోద్వేగాలు మాత్రం పండవు. తనవి కాని రచనల్ని తనవే అని చెబుతూ ఓ యువకుడు తప్పటడుగులు వేయడాన్ని చూసి మరో రచయిత ఊరుకుంటారా?ఎదగాలనే కోరిక ఉన్న ఓ రచయితని ప్రోత్సహించడం అంటే అదా? అనే ప్రశ్నలు తలెత్తుతాయి. హాస్యం, మలుపుల వరకు పర్వాలేదు కానీ, కథ, కథనాల విషయంలో లోటుపాట్లు కనిపిస్తాయి. చివర్లో సందేశం మాత్రం ఆలోచింపజేస్తుంది. కుటుంబంతో కలిసి చూసేలా సన్నివేశాల్ని తీర్చిదిద్దడం ఈ సినిమాకి కలిసొచ్చే విషయం ( Writer Padmabhushan) .
ఎవరెలా చేశారంటే: సుహాస్ రైటర్ పద్మభూషణ్ పాత్రలో ఒదిగిపోయాడు. మిడిల్ క్లాస్ కుర్రాడిగా ఆ పాత్రపై తనదైన ప్రభావం చూపించాడు. హాస్యం టైమింగ్ ఆకట్టుకుంటుంది. కథానాయిక టీనా తన పాత్రకి తగ్గట్టుగా నటింది. మరో అమ్మాయి శ్రీ గౌరీ ప్రియ కూడా కీలకమైన పాత్రలో కనిపిస్తుంది. రోహిణి, ఆశిష్ విద్యార్థి పాత్రలు సినిమాకి కీలకం. వాళ్లిద్దరూ మధ్య తరగతి తల్లిదండ్రులుగా పాత్రలపై బలమైన ప్రభావం చూపించారు. కథానాయిక తండ్రిగా గోపరాజు రమణతోపాటు, ఇతర నటులు తమ పాత్రల పరిధి మేరకు నటించారు. సాంకేతికంగా ఈ సినిమాను ఉన్నతంగా తీర్చిదిద్దారు. కెమెరా, సంగీతం విభాగాలు ఆకట్టుకుంటాయి. మనకు తెలిసిన విజయవాడ, కాకినాడల్ని మరింత కొత్తగా, అందంగా చూపించింది కెమెరా విభాగం. పాటలు, నేపథ్య సంగీతం సినిమాకి బలాన్నిచ్చాయి. ద్వితీయార్ధంలోనూ కొన్ని సన్నివేశాలు సాగదీతగా అనిపిస్తాయి. ప్రథమార్ధంలోనూ అక్కడక్కడా వేగం తగ్గినట్టు అనిపిస్తుంది. వాటిపై ఎడిటింగ్ విభాగం దృష్టిపెట్టాల్సింది. దర్శకుడు ఎవరూ స్పృశించని ఓ కొత్త నేపథ్యంలో కథని నడిపారు. హాస్యంలోనూ ఆయన పట్టు కనిపిస్తుంది. కథ, కథనాల పరంగానే మరిన్ని కసరత్తులు చేయాల్సింది. నిర్మాణం ఉన్నతంగా ఉంది.
బలాలు 1.హాస్యం, 2.సుహాస్ నటన, 3.పతాక సన్నివేశాల్లో సందేశం
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1.అక్కడక్కడా సాగదీతగా సన్నివేశాలు, 2.కథలో సమస్యలు
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గమనిక: ఈనాడు.నెట్లో కనిపించే వ్యాపార ప్రకటనలు వివిధ దేశాల్లోని వ్యాపారస్తులు, సంస్థల నుంచి వస్తాయి. కొన్ని ప్రకటనలు పాఠకుల అభిరుచిననుసరించి కృత్రిమ మేధస్సుతో పంపబడతాయి. పాఠకులు తగిన జాగ్రత్త వహించి, ఉత్పత్తులు లేదా సేవల గురించి సముచిత విచారణ చేసి కొనుగోలు చేయాలి. ఆయా ఉత్పత్తులు / సేవల నాణ్యత లేదా లోపాలకు ఈనాడు యాజమాన్యం బాధ్యత వహించదు. ఈ విషయంలో ఉత్తర ప్రత్యుత్తరాలకి తావు లేదు.
రివ్యూ: విద్య వాసుల అహం.. ఫ్యామిలీ ఎంటర్టైనర్ ఎలా ఉందంటే?
రివ్యూ: కృష్ణమ్మ.. సత్యదేవ్ ఖాతాలో హిట్ పడిందా?
రివ్యూ: ప్రతినిధి2.. నారా రోహిత్ పొలిటికల్ డ్రామా ఎలా ఉంది?
రివ్యూ: ఆవేశం.. రూ.150 కోట్లు వసూలు చేసిన మలయాళ బ్లాక్ బస్టర్ ఎలా ఉంది?
రివ్యూ: ప్రణయ విలాసం.. ‘ప్రేమలు’ హీరోయిన్ నటించిన సినిమా ఎలా ఉందంటే?
రివ్యూ : బాక్.. తమన్నా, రాశీఖన్నాల హారర్ మూవీ ఎలా ఉంది
రివ్యూ: ఆ ఒక్కటీ అడక్కు.. అల్లరి నరేష్ ఖాతాలో హిట్ పడిందా?
రివ్యూ: శబరి.. వరలక్ష్మీ శరత్కుమార్ నటించిన థ్రిల్లర్ ఎలా ఉంది?
రివ్యూ: ప్రసన్నవదనం.. సుహాస్ ఖాతాలో హిట్ పడిందా?
రివ్యూ హీరామండి: ది డైమండ్ బజార్.. సంజయ్లీలా భన్సాలీ ఫస్ట్ వెబ్సిరీస్ ఎలా ఉంది?
రివ్యూ: క్రాక్.. విద్యుత్ జమ్వాల్ స్పోర్ట్స్ యాక్షన్ ఫిల్మ్ ఎలా ఉందంటే?
రివ్యూ: రత్నం.. విశాల్ నటించిన యాక్షన్ డ్రామా మెప్పించిందా?
రివ్యూ: ఆర్టికల్ 370.. యామి గౌతమ్, ప్రియమణి నటించిన పొలిటికల్ థ్రిల్లర్ ఎలా ఉంది?
రివ్యూ: మై డియర్ దొంగ.. అభినవ్ గోమఠం నటించిన సినిమా ఎలా ఉందంటే?
రివ్యూ: సైరెన్.. జయం రవి, కీర్తి సురేశ్ యాక్షన్ థ్రిల్లర్ ఎలా ఉంది?
రివ్యూ: పారిజాత పర్వం.. క్రైమ్ కామెడీ థ్రిల్లర్ ఎలా ఉంది?
రివ్యూ: ఆట్టం.. మలయాళ సస్పెన్స్ డ్రామా ఎలా ఉంది?
రివ్యూ: డియర్.. భార్య గురకపెట్టే కాన్సెప్ట్తో రూపొందిన ఈ మూవీ మెప్పించిందా?
రివ్యూ: శ్రీ రంగనీతులు.. సుహాస్, కార్తీక్ రత్నంల కొత్త మూవీ మెప్పించిందా?
రివ్యూ: బడే మియా ఛోటే మియా.. అక్షయ్, టైగర్ ష్రాఫ్ నటించిన యాక్షన్ థ్రిల్లర్ ఎలా ఉంది?
రివ్యూ: గీతాంజలి మళ్ళీ వచ్చింది.. హారర్ కామెడీ థ్రిల్లర్ ఎలా ఉంది?
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తెలంగాణ కేబినెట్ భేటి.. షరతులతో కూడిన అనుమతిచ్చిన ఈసీ
అందుకే భారత్తో వాణిజ్య బంధం తెగిపోయింది: పాక్
పట్టభద్రులారా ఆలోచించి ఓటు వేయండి: కేటీఆర్
ఎంపీగా గెలిస్తే.. బాలీవుడ్ను వీడుతారా? కంగనా ఏం చెప్పారంటే..
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Writer Review - 'రైటర్' రివ్యూ: హెడ్ కానిస్టేబుల్ కేసులో ఇరుక్కుంటే? - ఆహాలో విడుదలైన సముద్రఖని సినిమా ఎలా ఉందంటే?
Ott review - writer telugu movie: సముద్రఖని నటించిన తమిళ సినిమా 'రైటర్'ను తెలుగులో అదే పేరుతో డబ్బింగ్ అయ్యింది. ఆహా ఓటీటీలో విడుదలైన ఈ సినిమా ఎలా ఉందంటే.
ఫ్రాంక్లిన్ జాకబ్
సముద్రఖని, హరికృష్ణన్ అన్బు దురై తదితరులు
సినిమా రివ్యూ: రైటర్ రేటింగ్: 2.5/5 నటీనటులు: సముద్రఖని, ఇనేయ, మహేశ్వరి, లిజ్జీ ఆంటోనీ, సుబ్రమణ్యం శివ, హరికృష్ణన్ అన్బు దురై, దిలీపన్, జీఎం సుందర్, మెర్కు తొడార్చి మలై ఆంటోనీ తదితరులు మాటలు (తెలుగు): వేణుబాబు చుండి పాటలు (తెలుగు): రాంబాబు గోసల సినిమాటోగ్రఫీ: ప్రతీప్ కాళీరాజా సంగీతం: గోవింద్ వసంత నిర్మాతలు: పా రంజిత్, అభయానంద సింగ్, పియూష్ సింగ్, అదితి ఆనంద్ రచన, దర్శకత్వం: ఫ్రాంక్లిన్ జాకబ్ విడుదల తేదీ: మే 27, 2022 (ఆహా ఓటీటీలో)
సముద్రఖని (Samuthirakani) ప్రధాన పాత్రలో నటించిన తమిళ సినిమా 'రైటర్'. తెలుగులో అదే పేరుతో అనువదించారు. మే 27న ఆహా ఓటీటీ (AHA OTT)లో విడుదలైంది. ఈ సినిమా ఎలా ఉందంటే (Writer Telugu Movie Review)...
కథ: రంగరాజు (సముద్రఖని) అనకాపల్లి పోలీస్ స్టేషన్లో రైటర్. పోలీసు వ్యవస్థలో కిందిస్థాయి ఉద్యోగులకు ఒక యూనియన్ ఉండాలని పోరాటం చేస్తున్నాడు. ఆ విషయమై కోర్టు మెట్లు ఎక్కుతాడు. ఇది నచ్చని పై అధికారి అతడిని విశాఖకు ట్రాన్స్ఫర్ చేస్తాడు. దేవ కుమార్ (హరీష్ కృష్ణన్) అనే పీహెడ్డి స్టూడెంట్ను అరెస్ట్ చేసిన విశాఖ పోలీసులు కల్యాణ మండపంలో, లాడ్జిలో ఉంచుతారు. ఎందుకలా చేశాడు? విశాఖలో అడుగుపెట్టే వరకూ తనకు ఎటువంటి పరిచయం లేని దేవ కుమార్ను తప్పించాలని రంగరాజు ఎందుకు ప్రయత్నించాడు? ఎందుకు జైలుకు వెళ్ళాడు? అసలు, ఏం జరిగింది? కేసు ఏమిటి? అనేది మిగతా సినిమా.
విశ్లేషణ: 'రైటర్' సినిమా నిర్మాతల్లో రజనీకాంత్ 'కబాలి', 'కాలా' చిత్రాల దర్శకుడు పా. రంజిత్ ఒకరు. దర్శకుడిగా, నిర్మాతగా ఆయన తీసిన సినిమాల్లో వర్ణ వివక్ష (కాస్ట్ ఫీలింగ్) కారణంగా ఓ వర్గం ప్రజలు ఎదుర్కొన్న అవమానాలు, ఒక వర్గానికి జరిగిన అన్యాయాలకు ప్రాధాన్యం ఉంటుంది. 'రైటర్'లో పోలీస్ వ్యవస్థలో వర్ణ వివక్ష గురించి అంతర్లీనంగా చూపించారు. అయితే, అంతకు మించి ఎమోషన్ ఉంది. సముద్రఖని అద్భుత అభినయం ఉంది.
ఒక కథగా, సినిమాగా 'రైటర్'ను చూస్తే... 'అల్లరి' నరేష్ కథానాయకుడిగా నటించిన 'నాంది' ఛాయలు కొన్ని కనిపిస్తాయి. 'నాంది'లో అన్యాయంగా ఒక యువకుడిని పోలీసులు కేసులో ఇరికిస్తే... ఆ యువకుడు పడే మనోవేదనను హృదయానికి హత్తుకునేలా చూపించారు. 'రైటర్'లో యువకుడి మనోవేదన కంటే... ఒక కుర్రాడు తన వల్ల అన్యాయంగా కేసులో ఇరుకున్నాడని పశ్చాత్తాపంతో బాధపడే ఒక పోలీస్ మనోవేదనకు ఎక్కువ ప్రాముఖ్యం ఇచ్చారు.
'రైటర్'లో సముద్రఖని, దేవ కుమార్ పాత్రలను పరిచయం చేయడానికి ఎక్కువ సమయం తీసుకున్నారు. అందువల్ల, సినిమా ప్రారంభమైన గంట వరకు చాలా నెమ్మదిగా సాగుతుంది. ఆ తర్వాత అసలు కథలోకి వెళ్లిన తర్వాత కూడా వేగం పెరగలేదు. కానీ, సన్నివేశాలు ఆసక్తికరంగా ఉంటాయి. సముద్రఖని కుటుంబ నేపథ్యం కథకు అవసరం లేదేమో అనిపిస్తుంది. అలాగే, దేవకుమార్ కుటుంబ నేపథ్య సన్నివేశాలు కూడా! సినిమాలో చాలా అంశాలను ప్రస్తావించారు. కానీ, లోతుగా చర్చించకుండా పైపైన చూపిస్తూ వెళ్ళారు.
క్రైమ్ రేట్ పర్సంటేజ్ తగ్గించడం కోసం పోలీసులు కేసులను ఏ విధంగా పరిష్కరిస్తారు? ఎటువంటి నేరం చేయని వాళ్ళను అన్యాయంగా కేసుల్లో ఎలా ఇరికిస్తారు? అనే అంశాలను చూపించారు. తెలుగు ప్రేక్షకులు ఈ తరహా సన్నివేశాలు, సినిమాలు చూశారు. ఈ 'రైటర్'లో ఆ అంశాలను కొత్త కోణంలో చూపించారు. గోవింద్ వసంత నేపథ్య సంగీతం కథతో పాటు ప్రయాణించింది. సన్నివేశాల్లో ప్రేక్షకులను లీనం చేసేలా ఉంది.
రంగరాజుగా సముద్రఖని జీవించారు. పాత్రకు ప్రాణం పోశారు. భావోద్వేగభరిత సన్నివేశాల్లో కొత్త సముద్రఖని కనిపిస్తారు. హరికృష్ణన్, ఇతర తారాగణం - సినిమాకు పర్ఫెక్ట్ కాస్టింగ్ కుదిరింది. అయితే, సముద్రఖని వచ్చినప్పుడు ఇతరులపై దృష్టి పడదు. సినిమాలో తెలుగు ప్రేక్షకులకు బాగా తెలిసిన నటుడు కూడా ఆయన ఒక్కరే కావడం అందుకు కారణం.
Also Read: 'ఎఫ్ 3' రివ్యూ: వెంకటేష్, వరుణ్ తేజ్ నవ్వించారా? ఫ్రస్ట్రేషన్ తెప్పించారా?
ఫైనల్ పంచ్: రెగ్యులర్ పోలీస్ కథలకు భిన్నమైన కథతో రూపొందిన సినిమా 'రైటర్'. పోలీసు వ్యవస్థలో కిందిస్థాయి ఉద్యోగుల జీవితాలు, వర్ణ వివక్ష గురించి చర్చించిన చిత్రమిది. సహజత్వానికి దగ్గరగా తీశారు. అయితే, చాలా నిదానంగా సాగుతుంది. సముద్రఖని అద్భుత అభినయం ఆకట్టుకుంటుంది. ఓటీటీ రిలీజ్ కాబట్టి ఫార్వర్డ్ చేసుకునే ఆప్షన్ ఉంటుంది కనుక... సముద్రఖని కోసం సినిమాను చూసే ప్రయత్నం చేయవచ్చు.
Also Read: Top Gun Maverick Movie Review: 36 ఏళ్ళ తర్వాత సీక్వెల్ - 'టాప్ గన్: మావెరిక్' ఎలా ఉంది? టాప్ ప్లేస్లో ఉంటుందా? లేదా?
టాప్ హెడ్ లైన్స్
ట్రెండింగ్ వార్తలు
ట్రెండింగ్ ఒపీనియన్
వ్యక్తిగత కార్నర్
Writer Movie Review and Rating :-
Movie :- Writer (2021) Review
Star Cast :- Samuthirakani ,Dileepan, Ineya and so on
Producer :- Pa. Ranjith , Abhayanand Singh , Piiyush Singh , Aditi Anand
Music Director :- Govind Vasantha
Director :- Franklin Jacob
Story ( Spoiler Free):-
The movie begins by showcasing the character of Thangaraj (Samuthirakani) as a writer in a police station. He is an honest and sincere cop, but due to the corruption in the system, he closes a petty case unfairly. Besides he is the one who made a petition in the court regarding the formation of the Union of Polices.
Upon all this, a person named Devakumar (Hari Krishnan), pursuing a Ph.D. in sociology at Madras University was arrested by the Police to get rid of the old case. Now as a sincere Police and Writer how Thangaraj took this issue into his hands and helped Devakumar form the rest of the story.
What is the story of Thangaraj? What is the character of Saranya? What is the flashback of Ineya? How did Devakumar arrest? What is wrong with the Police system? How did Thangaraj save Devakumar? Is the basic plot of the story.
Positives 👍:-
- Samuthirakani’s outstanding performance. From stating to ending he lived in the role.
- background score.
- Visuals in the second half along with some breathtaking scenes.
- The whole credit goes to Franklin Jacob for trying this different concept.
Negatives 👎:-
- Even though the concept is different but the screenplay haven’t engaged audience.
- This kind of films may not appeal to all section of audience.
- The flashback episode of Ineya.
The Writer Movie is an honest and genuine attempt made by Franklin Jacob. His vision is great and mesmerizes the audience. As usual Samuthirakani did a terrific job in his role. Rest other are given their best.
Production values are good, Cinematography is great. Few Scenes are not up to the mark. Especially the flashback episode of Ineya. But overall a worth watchable film.
Rating :- 3/5
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Writer Padmabhushan
Padmabhushan, a 25-year-old aspiring writer based out of Vijayawada and his middle class family take us on a roller coaster ride packed with innocuous fun and soft emotions, with their heart... Read all Padmabhushan, a 25-year-old aspiring writer based out of Vijayawada and his middle class family take us on a roller coaster ride packed with innocuous fun and soft emotions, with their heart in the right place. Padmabhushan, a 25-year-old aspiring writer based out of Vijayawada and his middle class family take us on a roller coaster ride packed with innocuous fun and soft emotions, with their heart in the right place.
- Shanmukha Prasanth
- Tina Shilparaj
- Gowri Priya
- 10 User reviews
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- Padmabhushan
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- Feb 4, 2023
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- February 3, 2023 (India)
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'Writer Padmabhushan' movie review: A pleasing coming-of-age drama
There is a simple and beautiful moment early in debutant Shanmukha Prasanth’s Writer Padmabhushan that not only illustrates the protagonist’s character but also doubles up as a whistle-worthy mass moment. Padmabhushan (Suhas) an aspiring writer has self-published his first novel, quite literally named ‘Tholi Adugu’. Having found little to no success, the only kind of validation he gets is when someone reads his book, and his friend’s barber shop is one avenue to seek it. When his attempt to make the visitor read his book sees fruition, we get a shot of the two seated opposite each other; the visitor, now invested in the story, keeps his legs down and bends forward, indicating his interest in the story, and a proud Padmabhushan, having received a shot of assurance about his talent, crosses his leg. The shot, which communicates the character’s pursuit, is simple but remarkable. That’s something I could say about Writer Padmabhushan as a whole.
The first half of Writer Padmabhushan is a collection of beautiful and strong moments emanating from multiple themes—failure, desperation, guilt, and familial bonds. In fact, it even moves at a surprisingly fast pace, packing in multiple threads.
Failure and how it influences one is one of its core themes. The prologue of the film, set in a classroom, ends with the declaration from the teacher that girls have won a writing competition. The camera lingers on the disappointed faces of young schoolboys, the failed team, before the story moves to the present. This opening finds its real meaning only in the end b ut it sets up the stage for a character that’s battling failure.
From a screenplay perspective, just when you feel that the film has introduced an arc that might snowball into the ultimate conflict or a resolution, we learn that this arc ends soon enough and the writing is jumping to the next level. For instance, when Padmabhushan hits his lowest, having received criticism for his work and after feeling that his book is equated to trash, he breaks down and decides to quit writing until he is truly driven. Here ends a chapter and a new one begins. Bhushan’s life changes when he receives praise and love for a book he hasn’t written.
He knows he doesn’t deserve it but a part of him tells that he needs to leverage the opportunity. This interesting plot point—one that also adds a mystery layer to the narrative—pushes him into a confounding state of mind that he has to live in throughout the film.
This, solely from a writing perspective, makes the first half of the film, backed by endearing characters in the form of Bhushan’s parents (Ashish Vidyarthi and Rohini Molleti), an amusing and pacy watch. Even the rom-com bits featuring, which often come across as the blandest part of such lively films, are full of energy and charm. A scene set in Navrang theatre is an absolute scream and that too stems from the character’s nativity. Likewise, in another delightful scene, Bhushan vows to his mother that he won’t have food until he meets a writing deadline. When he learns that she is cooking chicken, the vow, naturally, goes for a toss. See, these are simple, relatable moments.
At heart, Writer Padmabhushan is a personal coming-of-age film that many of us are bound to relate to on some level; be it the longing for appreciation or the heartbreak when our efforts don’t yield the fruits. It has a quirky and pleasant vibe that we often find in Malayalam films. There is not even a single character with a shade of grey in this light-hearted dramedy.
However, once the identity of the person who instigated the change in Bhushan’s life is revealed in the big interval bang, the second half of the film becomes, for the lack of a better word, stale with no surprises to pull off and too little motivation for the character and to the audience. I antagonised these portions much more severely because the sheer pace and liveliness that were suffused in the first half, go completely missing here and it begins to feel like the narrative is wandering without an intent—one that was clearly present in the earlier portions—to going forward. Thankfully, it all culminates in a beautiful climax stretch that (like last year’s Tamil film, Don) comes out of nowhere and moves you. Don’t worry, there is no death here. The only tears to be shed be happy tears in the end. And the background score accentuates these moments fabulously.
Suhas wonderfully humanises what could have been a caricaturish character, with all his desires and vulnerabilities intact. Bhushan is a beautiful character, one enhanced further by his performance, imbuing tiny mannerisms that make the character look less like a protagonist in a film and more like a real person. Is there anything that needs to be said about Rohini? About how she effortlessly makes the love she has for her on-screen son feel so real every time, with every actor? It is a pleasant detour for Ashish Vidyarthi, who made a career in Telugu out of playing cruel and crude villains, as the protagonist’s lovable father. He is an affable presence but one cannot help but be bothered by the disconnect created by the dubbing.
Writer Padmabhushan is not a flawless film. It has some issues craft-wise (continuity errors and budget limitations) and writing-wise too (in the second half, where you know that pressing a character further would have answered many questions) but it is the kind of lovely little film that we often see in Malayalam and wish something like that was made here, in our world. Well, they made one. A pretty neat one. In fact, in his introductory voice-over, Bhushan tells about the love Telugu people harbour for films. Earnest films like Writer Padmabhushan definitely warrant it.
Writer Padmabhushan
Cast: Suhas, Tina, Rohini, Ashish Vidhyarthi Director: Shanmukha Prasanth
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Writer Movie Review : An honest attempt that could have been made better
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Writer – Official Teaser
Writer | Song - Kaanal Neeraai (Lyrical)
Users' Reviews
Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.
User Alexos 786 days ago
Good story and acting of each one.
Member 866 days ago
Elakkiyahm 874 days ago.
100% தரம்,நெத்தியடி , Masterpiece , காவலர்களுக்கு சமர்பிக்கத் தகுதியான வெளிப்பாடு
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Soooper 5 /5 star
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Chitram Choodara Review: వరుణ్ సందేశ్ హీరోగా నటించిన చిత్రం చూడర మూవీ థియేటర్లలో కాకుండా నేరుగా ఈటీవీ విన్ ఓటీటీ ద్వారా తెలుగు ప్రేక్షకుల ముందుకొచ్చింది. ఈ క్రైమ్ థ్రిల్లర్ లవ్ స్టోరీ ఎలా ఉందంటే?
Chitram Choodara Review: వరుణ్ సందేశ్ , శీతల్ భట్ హీరోహీరోయిన్లుగా నటించిన చిత్రం చూడర మూవీ డైరెక్ట్గా ఈటీవీ విన్ ఓటీటీ లో రిలీజైంది. క్రైమ్ థ్రిల్లర్ లవ్స్టోరీగా దర్శకుడు ఆర్ ఎస్ హర్షవర్ధన్ ఈ మూవీని రూపొందించాడు. అల్లరి రవిబాబు, శివాజీరాజా కీలక పాత్రల్లో నటించిన ఈ మూవీ ఓటీటీ ఆడియెన్స్ను మెప్పించిందా? లేదా? అంటే…
బాలా సినిమా ఆఫర్...
కొత్తపట్టణం అనే ఊళ్లో రంగారావు (కాశీవిశ్వనాథ్), మొద్దు(ధన్రాజ్)లతో కలిసి బాలా (వరుణ్ సందేశ్) నాటకాలు వేస్తుంటాడు. ప్రజలను పీడిస్తోన్న రౌడీకి వ్యతిరేకంగా బాలా ఓ నాటకం వేస్తాడు. ఆ నాటకంలో బాలా నటన చూసి సినిమా ప్రొడక్షన్ మేనేజర్ మ్లలేషం (శివాజీరాజా) ఇంప్రెస్ అవుతాడు. తాము తీయబోతున్న కొత్త సినిమాలో బాలాకు హీరో ఫ్రెండ్ క్యారెక్టర్ ఇస్తాడు.
ఆ సినిమా ఆఫర్ కోసం హైదరాబాద్ వచ్చిన బాలాతో పాటు మొద్దు, రంగారావులు దొంగతనం కేసులో ఇరుక్కుంటారు. సినిమా ఆఫీస్లోనే డబ్బు కొట్టేశారని ముగ్గురిని సీఐ సారంగపాణి (అల్లరి రవిబాబు) అరెస్ట్చేస్తాడు. బాలాకు సినిమాలో ఆఫర్ ఇచ్చిన మల్లేషం ..సీఐ సారంగపాణితో కలిసి తెలివిగా బాలా, మొద్దు, రంగారావులను ఈ కేసులో ఇరికిస్తాడు.
అతడు అలా ఎందుకు చేశాడు? ఈ నేరం నుంచి బాలాను, అతడి స్నేహితులను రక్షించిన చిత్ర (శీతల్ భట్) ఎవరు? చిత్రతో బాలాకు ఉన్న సంబంధం ఏమిటి? సినిమాల్లో నటించాలనే బాలా కల నెరవేరిందా? లేదా? అన్నదే ఈ మూవీ కథ.
సాదాసీదా క్రైమ్ థ్రిల్లర్ మూవీ...
చిత్ర చూడర....ఓ సాదాసీదా క్రైమ్ థ్రిల్లర్ కథ. ఏ మాత్రం డెప్త్లేని ఓ చిన్న పాయింట్ను ఆధారంగా చేసుకొని డైరెక్టర్ హర్షవర్ధన్ ఈ మూవీని తెరకెక్కించాడు. క్రైమ్ కథల్లో ఉంటే ఎమోషన్స్, థ్రిల్లింగ్ మూవ్మెంట్స్ ఏవి ఈ సినిమాలో కనిపించవు.
గజిబిజి....
క్రైమ్ థ్రిల్లర్ సినిమాల్లో హీరోకు ఎదురయ్యే సమస్య, దాని చుట్టూ అల్లుకున్న డ్రామాలోని సంఘర్షణ ఎంత బలంగా వర్కవుట్ అయితే కథ అంత రక్తికడుతుంది. అసలు మెయిన్ పాయింట్ వీక్ అయితే సినిమా మొత్తం గజిబిజీగా మారిపోయింది. అందుకు పర్ఫెక్ట్ ఎగ్జాంపుల్గా చిత్రం చూడరా సినిమాను చెప్పొచ్చు.
టీవీ సీరియల్ను తలపిస్తూ...
డ్రామా ఆర్టిస్ట్ అయిన హీరో అనుకోకుండా నేరంలో చిక్కుకోవడం, వేశ్య కమ్ ప్రియురాలు అయిన హీరోయిన్ అతడిని కాపాడటం అనే ఔట్ లైన్ బాగుంది. ఈ పాయింట్కు టీవీ సీరియల్ను తలపించే స్క్రీన్ప్లే, సీన్స్తో రాసుకోవడంతో సినిమా మొత్తం ప్రేక్షకుల సహనానికి పరీక్షగా మారింది.
ఎలాంటి ట్విస్ట్లు లేవు...
సినిమా ప్రీ క్లైమాక్స్ వరకు హీరో లక్ష్యం ఏమిటి? అతడి క్యారెక్టర్ ఏం చేస్తుందో అంతుపట్టదు. హీరోను క్రైమ్లో ఇరికించడానికి ప్రొడక్షన్ మేనేజర్, పోలీస్ ఆఫీసర్ వేసిన ట్రాప్ సిల్లీగా అనిపిస్తుంది. నిజంగానే టీవీ సీరియల్ నుంచి ఇన్స్పైర్ అయ్యి ఆ సీన్ రాసినట్లుగా అనిపిస్తుంది. హీరో తన తెలివితేటలు ఉపయోగించి ఆ క్రైమ్ నుంచి బయటపడతాడా అంటే అదీ లేదు. ఎలాంటి ట్విస్ట్లు లేకుండా సింపుల్గా సినిమాను ఎండ్ చేశాడు డైరెక్టర్.
డైరెక్టర్ క్రియేటివిటీ...
హీరోహీరోయిన్ల మధ్య పరిచయాన్ని డిఫరెంట్గా చూపించడానికి డైరెక్టర్ తన క్రియేటివిటీ మొత్తం వాడేశాడు. ఆ క్రియేటివిటీని భరించడం కష్టమే. హీరోహీరోయిన్ల లవ్స్టోరీ మొత్తం సాగతీతగా ఉంటుంది. ఒక్కటంటే ఒక్కటి కూడా ఇది బాగుందే అనుకునే సీన్...డైలాగ్ సినిమాలో కనిపించదు.
ఎలాంటి పసలేని ఈ కథలో శివాజీరాజా ట్రాక్ ఒక్కటే కాస్తంత నయం అనిపస్తుంది. డబ్బు కోసం అడ్డదారులు తొక్కి చివరకు తాను వేసిన ప్లాన్లోనే తానే ఇరుక్కోని ఎలా జైలుపాలయ్యాడన్నది అతడి క్యారెక్టర్ ద్వారా కాస్తంత అర్థవంతంగా చూపించినట్లు అనిస్తుంది.
క్లారిటీ మిస్...
బాలా పాత్రలో వరుణ్ సందేశ్ సరిగ్గా ఇమడలేదు. దర్శకుడు చెప్పిన కథపై తనకే క్లారిటీ లేనట్లుగా అతడి నటన సాగింది. హీరోయిన్ క్యారెక్టర్ను డిఫరెంట్గా రాసుకున్నాడు. ఆ పాత్రకు తగ్గట్లుగా శీతల్భట్ యాక్టింగ్ లేదు. అల్లరి రవిబాబు, శివాజీరాజా, కాశీవిశ్వనాథ్, రాజా రవీంద్రి ఇలా చాలా మంది సీనియర్ ఆర్టిస్టులు ఉన్నా ఎవరిని సరిగా వాడుకోలేదు. ధన్రాజ్, రచ్చ రవి కామెడీలోని ఒక్క సీన్ కూడా నవ్వించలేదు.
స్కిప్ చేయడం బెటర్...
చిత్రం చూడర సిల్లీగా సాగే ఔట్డేటెడ్ క్రైమ్ థ్రిల్లర్ మూవీ. థియేటర్ల స్కిప్ చేస్తూ ఓటీటీలో రిలీజైన ఈ మూవీ ఆడియెన్స్ కూడా స్కిప్ చేయడం మంచిదే.
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‘limonov: the ballad’ review: ben whishaw in kirill serebrennikov’s perplexing portrait of a russian writer and dissident.
The Cannes competition regular returns with his first English-language (but heavily Russian-accented) effort, about poet-punk-prisoner-gadfly-neo-Fascist Eduard Limonov.
By Leslie Felperin
Leslie Felperin
Contributing Film Critic
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You would think Russia would be Limonov ’s natural market, given that the subject is known mostly in his motherland (and a bit in France, thanks to Carrere), which is also the homeland of the film’s director Kirill Serebrennikov ( Tchaikovsky’s Wife ). But this hasn’t a cherry popsicle’s chance in hell of being shown within fewer than 500 miles from Moscow for all manner of reasons — starting with the scenes in which its protagonist (played by Ben Whishaw speaking entirely in English with a theatrical “raa-shun” accent) has soft-core gay sex. Also, Serebrennikov spent three years under house arrest in Russia until just recently on probably trumped-up fraud charges, and has since emigrated to France. So that makes legit distribution back home unlikely.
Instead, we have a work that is very recognizably Serebrennikov’s, which is to say it’s nostalgic for the Soviet era, outlandishly celebratory of the callow charms of bohemian youth (compare with his pop-music-themed Leto ), baggy to the point of undisciplined (see Petrov’s Flu ) and full of long, fluid, roaming, handheld single takes (applicable to nearly all his works).
Those bravura long takes are deployed frequently, accompanied by impressive crowd choreography to show Limonov and friends literally moving through the years like rooms in a crowded building and nearby city streets — places teeming with knick-knacks and detritus that evoke specific years and historic milestones, such as a TV set showing footage of a state funeral or the Berlin Wall coming down. These connective sequences are indeed impressive and evoke Serebrennikov’s roots in avant-garde theatre, but do they need to be soundtracked to Lou Reed songs like “Walk on the Wild Side” quite so often?
A dalliance with fellow literati-set denizen Anna (Masha Mashkova) effectively ends when Eddie hooks up with a beauty supposedly “out of his league,” Elena (Viktoria Miroshnichenko). Eddie manages to woo her away from her previous boyfriend by cutting his wrists on her doorstep, which somehow is interpreted as a grand romantic gesture. The past sure is a different country.
After many scenes showing Eddie and Elena copulating in assorted positions, including a spot of anal while watching Aleksandr Solzhenitsyn on TV, the happy couple end up emigrating to New York City, represented at first with a long-single-take tour around what looks like 42cd street when it was a hub for prostitution and porno theaters. But exile is hard on the two of them. Eddie doesn’t get the recognition for his genius that he thinks he deserves, and seethes with hatred for all the other Russian dissidents who have been embraced by the Western media — the aforementioned Solzhenitsyn, the poet Joseph Brodsky, physicist Andrei Sakharov and so on.
Serebrennikov and Co. are so taken with the sexy, sleazy 70s-ness of it all that it feels like ages until the facts take Eddie back to France at first and then to Moscow, where he eventually ends up starting his own weird nationalist, Soviet-nostalgic political party and then gets sent to prison. Some viewers, myself included, may feel this back half is the more interesting part of Limonov’s story, one that Carrere’s book covers in less detail. But just when it seems like the film has gotten better, it ends with the obligatory what-happened-next text explanations before the credits role.
At least there aren’t any rostrum photographs flashed up to reveal how much Whishaw looks like Limonov. Maybe because the resemblance is poor — although Whishaw makes an effort to put flesh on the bones of the script — it’s a bit of a chin-scratcher as to why he was cast. Sure, he’s quite a protean actor, and one who has played mentally disturbed and violent characters well (such as the protagonist of the disturbingly dark Surge ), but even he can’t quite square the overlapping and concentric circles and right angles of Limonov’s story to make something that hangs together here.
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Writer Padmabhushan Movie Review: A pleasing coming-of-age drama
Rating: ( 3.5 / 5).
There is a simple and beautiful moment early in debutant Shanmukha Prasanth’s Writer Padmabhushan that not only illustrates the protagonist’s character but also doubles up as a whistle-worthy mass moment. Padmabhushan (Suhas) an aspiring writer has self-published his first novel, quite literally named ‘ Tholi Adugu ’. Having found little to no success, the only kind of validation he gets is when someone reads his book, and his friend’s barber shop is one avenue to seek it. When his attempt to make the visitor read his book sees fruition, we get a shot of the two seated opposite each other; the visitor, now invested in the story, keeps his legs down and bends forward, indicating his interest in the story, and a proud Padmabhushan, having received a shot of assurance about his talent, crosses his leg. The shot, which communicates the character’s pursuit, is simple but remarkable. That’s something I could say about Writer Padmabhushan as a whole.
Cast: Suhas, Tina, Rohini, Ashish Vidhyarthi Director: Shanmukha Prasanth
The first half of Writer Padmabhushan is a collection of beautiful and strong moments emanating from multiple themes—failure, desperation, guilt, and familial bonds. In fact, it even moves at a surprisingly fast pace, packing in multiple threads.
Failure and how it influences one is one of its core themes. The prologue of the film, set in a classroom, ends with the declaration from the teacher that girls have won a writing competition. The camera lingers on the disappointed faces of young schoolboys, the failed team, before the story moves to the present. This opening finds its real meaning only in the end b ut it sets up the stage for a character that’s battling failure. From a screenplay perspective, just when you feel that the film has introduced an arc that might snowball into the ultimate conflict or a resolution, we learn that this arc ends soon enough and the writing is jumping to the next level. For instance, when Padmabhushan hits his lowest, having received criticism for his work and after feeling that his book is equated to trash, he breaks down and decides to quit writing until he is truly driven. Here ends a chapter and a new one begins. Bhushan’s life changes when he receives praise and love for a book he hasn’t written. He knows he doesn’t deserve it but a part of him tells that he needs to leverage the opportunity. This interesting plot point—one that also adds a mystery layer to the narrative—pushes him into a confounding state of mind that he has to live in throughout the film. This, solely from a writing perspective, makes the first half of the film, backed by endearing characters in the form of Bhushan’s parents (Ashish Vidhyarthi and Rohini Molleti), an amusing and pacy watch. Even the rom-com bits featuring, which often come across as the blandest part of such lively films, are full of energy and charm. A scene set in Navrang theatre is an absolute scream and that too stems from the character’s nativity. Likewise, in another delightful scene, Bhushan vows to his mother that he won’t have food until he meets a writing deadline. When he learns that she is cooking chicken, the vow, naturally, goes for a toss. See, these are simple, relatable moments.
At heart, Writer Padmabhushan is a personal coming-of-age film that many of us are bound to relate to on some level; be it the longing for appreciation or the heartbreak when our efforts don’t yield the fruits. It has a quirky and pleasant vibe that we often find in Malayalam films. There is not even a single character with a shade of grey in this light-hearted dramedy.
However, once the identity of the person who instigated the change in Bhushan’s life is revealed in the big interval bang, the second half of the film becomes, for the lack of a better word, stale with no surprises to pull off and too little motivation for the character and to the audience. I antagonised these portions much more severely because the sheer pace and liveliness that were suffused in the first half, go completely missing here and it begins to feel like the narrative is wandering without an intent—one that was clearly present in the earlier portions—to going forward. Thankfully, it all culminates in a beautiful climax stretch that (like last year’s Tamil film, Don) comes out of nowhere and moves you. Don’t worry, there is no death here. The only tears to be shed be happy tears in the end. And Shekar Chandra's background score accentuates these moments fabulously.
Suhas wonderfully humanises what could have been a caricaturish character, with all his desires and vulnerabilities intact. Bhushan is a beautiful character, one enhanced further by his performance, imbuing tiny mannerisms that make the character look less like a protagonist in a film and more like a real person. Is there anything that needs to be said about Rohini? About how she effortlessly makes the love she has for her on-screen son feel so real every time, with every actor? It is a pleasant detour for Ashish Vidhyarthi, who made a career in Telugu out of playing cruel and crude villains, as the protagonist’s lovable father. He is an affable presence but one cannot help but be bothered by the disconnect created by the dubbing.
Writer Padmabhushan is not a flawless film. It has some issues craft-wise (continuity errors and budget limitations) and writing-wise too (in the second half, where you know that pressing a character further would have answered many questions) but it is the kind of lovely little film that we often see in Malayalam and wish something like that was made here, in our world. Well, they made one. A pretty neat one. In fact, in his introductory voice-over, Bhushan tells about the love Telugu people harbour for films. Earnest films like Writer Padmabhushan definitely warrant it.
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Running three hours, this film, scheduled for release by New Line and Warner Bros on June 28, is just “Chapter 1”, first of an unusual planned series of four separate films (not sequels) continuing the massive story, with Chapter 2 already in the can and scheduled for an August 16 release, and Chapter 3 reportedly going before the cameras imminently. Of course this multi-part saga is not unusual for television, where it thrives in the limited series form, but for movies it is virtually unheard of — along with the fact that its star/director, who has been dreaming of this in various forms since 1988, is largely footing the bill.
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But nothing on this scale has ever been attempted for this kind of release pattern on the big screen, and I would say, at least based on the first part with its huge cast of characters and storylines woven in and out, Costner’s biggest influence may have in fact been 1963’s Cinerama production of How the West Was Won. I know from multiple interviews in the past, including mine, Costner has always noted the impact seeing that film (nominated for Best Picture and winner of three Oscars including Best Original Screenplay) with his father made a lifelong impression on him. It similarly traversed many years, characters and story arcs like Horizon does but was just one long, reserved seat movie event. Horizon has four times its spirit at the very least.
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Spanning about 15 years from the end of the Civil War (a factor but not the focus here), Horizon is about the expansion and settlement of the American West, those brave white people who made their way on horse and wagon trains to the promise of a new life. Literally. In the movie Horizon is the name of a basically suburban dream. Flyers are continually seen urging people to come West. “If you want a farm or home the best thing in the West is the town of Horizon. Best grazing land in the world, the richest land, premium virgin land with pure and abundant water, temperate climate, and excellent health,” it advertises to potential settlers.
What it doesn’t say is it is also the home of American Indians, our Native Americans, many who are understandably not too keen about this development on what they consider their territory, and that it could also be a dangerous proposition. But this is a film about Manifest Destiny, and therein will lie many of the complications for these (many) people we meet along the way. And of course in different parts of the world this concept makes this movie still relevant, even as it is told as a piece of our history.
It is clear from this Chapter 1 that Costner, who co-wrote the script with Jon Baird and a story from Mark Kasdan, is interested again in this conundrum with the Indigenous population, just as he was in Dances With Wolves in going for a much deeper and complex study than what Hollywood largely did for decades in its treatment of the American Indian on film. And coming on the heels of another film that premiered in Cannes last year, Martin Scorsese’s Killers of the Flower Moon, it will be interesting to see how it all plays out in the upcoming chapters . In this one the table is set and we meet a lot of the key players, with the emphasis on those white settlers who made their way west as the Civil War had ravaged the Union, but with the promise of changing times giving hope.
Chief among the settlers is Costner’s character, Hayes Ellison, a lone wolf type who would like to keep to himself but keeps getting drawn into things he would rather avoid. He has survival and fighting skills that will come in handy, especially in some confrontations with very bad guys who are making trouble, notably the outlaw Sykes family.
This is a huge cast, but Costner tries to get them all introduced here including the intriguing Sam Worthington character of First Lt. Trent Gephardt, a soldier stationed at Fort Gallant but a guy with questions about himself and where he is going in this new world. Danny Huston’s sympathetic Col. Houghton has his hands full with the emerging droves of settlers, but knows there will be no way to stop, or possibly protect them when they get to Horizon. And you can count in Michael Rooker’s Sgt Major Riordan, who has the same concerns at Gallant.
Others include Luke Wilson’s good but reluctant leader of a wagon train, chosen against his will but trying to live up to the challenge, and Will Patton, a widower still recovering from the Civil War and accompanying his three daughters for a better shot at life.
The Native Americans are authentically cast, as you might expect in any movie from the filmmaker of Dances With Wolves. Standouts include Owen Crow Shoe as Pionsenay, an Apache warrior who is confused and frustrated with clashes with the settlers and none too pleased at this development, as opposed to brother Taklishim (a fine Tatanka Means) who is siding with their father, the Chief, in trying to be non-confrontational. Liluye (an excellent Wase Winyan Chief) is also his wife and mother of their baby, but she seems to have more fortitude and actually believes they should, like her brother-in-law, be resisting the rise of the settlers rather than sitting idly by.
Giovanni Ribisi, Glynn Turman, Tom Payne, Kathleen Quinlan, Angus MacFayden and countless others also pop in and out, some with perhaps more to do in ensuing chapters. There are more than 170 speaking roles in the series which is being shot on locations in Utah, with stunning cinematography by J. Michael Muro who captures the grandeur of the Old West in style. Other shout-outs go to Derek R. Hill’s authentic production design and John Debney’s stirring score.
For Costner, this is an impressive beginning, with the promise of more to come. It even ends with a montage of scenes from the second film coming in August, much like you might see if this were a television production, something it is defiantly not. With Horizon: An American Saga, Costner is just trying to keep the American Western alive, but he may, with this innovative roll of the dice, also be trying to keep theaters alive at the same time, that is if there is still an appetite for Westerns. Hopefully there is.
Title: Horizon: An American Saga Distributor: Warner Bros Festival: Cannes (Out of Competition) Release date: June 28, 2024 Director: Kevin Costner Screenwriters: Kevin Costner, Jon Baird Cast: Kevin Costner, Sienna Miller, Sam Worthington, Jena Malone, Danny Huston, Luke Wilson, Michael Rooker, Will Patton, Owen Crow Shoe, Tatanka Means, Wase Winyan Chief, Jamie Campbell Bower, Isabelle Fuhrman, Jon Beavers Rating: R Running time: 3 hr 1 min
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Review: ‘IF,’ a movie about imaginary friends, requires suspension of disbelief — and a few more drafts
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There’s an existential question at the heart of “A Quiet Place” director John Krasinski’s new kid-friendly semi-animated movie “IF.” It’s a simple one, but it speaks to the limitless potential of a child’s imagination and it gets asked again and again: “What if?”
“IF” is also an acronym in the film for “imaginary friend,” and the movie spurs the audience to consider the impossible: What if our imaginary friends never disappear with time and memory, but remain in the world, purposeless and friendless?
It’s an interesting premise, and Krasinski has leveraged his hefty Hollywood contacts list to contribute voices to the imaginary friends. However, a cute premise and a bunch of stars are pretty much the only things going for “IF,” which is a surprisingly somber film with serious storytelling problems, because Krasinski hasn’t bothered to flesh out the fantastical world-building of his script.
It’s a bit ironic because the characters repeatedly talk about the importance of stories. In an opening narration, our heroine Bea (Cailey Fleming) describes how when she was a child, her mother would ask her for a story; later, she tells a story to her father (Krasinski) in one of the film’s climactic, cathartic moments. Krasinski insists that stories are important but never actually demonstrates why or how. And on a structural level, the storytelling of “IF” itself is a mess: a heartfelt but dramatically inert endeavor that whipsaws between tones ranging from whimsical to morose.
This may pretend to be a film about imaginary friends, but what it’s actually about is dead and dying parents. The “IFs” are the coping mechanism, and they are also the emotional tether to childlike wonder and comfort in escapism, which is something that 12-year-old Bea needs more than ever. In an opening montage, we see her happy childhood and her mother (Catharine Daddario) slipping away due to illness. When we meet Bea again in the present, her father is in the hospital with a “broken heart” (though he’s plenty spry enough to pull childish pranks and high jinks).
Bea is staying with her grandmother (Fiona Shaw) in her childhood apartment in Brooklyn Heights, strangely left to her own devices, and ends up falling in with her reticent neighbor Cal (Ryan Reynolds) and his two magical associates, a giant purple guy named Blue (voiced by Steve Carell) and a ballerina Minnie Mouse creature, Blossom (voiced by Phoebe Waller-Bridge).
Blue and Blossom are IFs whose kids have grown up and they’d like to find new ones to befriend. After they explain their plight, Bea takes on the matchmaking task as her new “job.” It’s never explained what will happen to the IFs if they don’t get paired up, as it seems they just go live in a retirement home underneath Coney Island. But Bea seals the deal with a musical performance of Tina Turner’s “You Better Be Good to Me,” which is a callback to her own childhood memories but also feels like an extensive inside joke.
They soon realize that they need to be tracking down the adult pals of the IFs instead of looking for new ones, and so Bea roams New York City with Cal, Blue and Blossom looking for these kids and trying to activate their sense memories so that they can see their IFs again.
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There’s a lot of potential disbelief to suspend here. A set of rules and regulations about these imaginary creatures would help. Who can see them? Why does Bea’s grandmother not wonder why she is running off to Coney Island all day? Is her dad in a mental hospital? Is any of this actually happening?
Krasinski emphasizes poignancy over coherence, with composer Michael Giacchino wildly overscoring the piece in order to convey narrative beats that simply aren’t there. The oddly paced film feels randomly strung together, spiced with a collection of one-line vocal cameos delivered by high-profile Krasinski pals (George Clooney, Matt Damon, Maya Rudolph, Emily Blunt, Jon Stewart, Bradley Cooper, Keegan-Michael Key, Sam Rockwell, Awkwafina, Blake Lively, Amy Schumer, Christopher Meloni, Richard Jenkins, etc.). The film looks great, with rich, vintage production design by Jess Gonchor, and it’s beautifully shot by Steven Spielberg’s master cinematographer Janusz Kaminski . But the whole conceit is so undercooked, it could give you salmonella.
“IF” is a film from an adult’s perspective about the importance of imagination, and a reminder to stay connected with our own sense of childlike wonder. But is it a movie for kids, or for the inner child of an adult? With its nonsensical, confounding story, it might not be for anyone, even if its heart is in the right place.
'IF'
Rating: PG, for thematic elements and mild language Running time: 1 hour, 44 minutes Playing: Now in wide release
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‘This Life of Mine’ Review: A Middle-Aged Woman Collapses and Rebuilds In Sophie Fillières’ Bittersweet Final Feature
The French writer-director died shortly after shooting wrapped on this minor-key character comedy — her children supervised the edit, but an authorial absence is felt.
By Guy Lodge
Film Critic
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Popular on Variety
Barberie’s adult son Junior (Édouard Sulpice) and teenage daughter Rose (Angélina Woreth) regard her with bemused affection and contempt, respectively, though both have long ceased to be dependent on her. Years of feeling unseen and unneeded have tipped Barberie’s empty-nester loneliness into the realm of mental illness. When a perplexing encounter with Bertrand (Laurent Capelluto) — a man who claims to be a former flame, but of whom she has no memory — places her in a dissociative state, she checks herself into a psychiatric care facility, hoping to regather a disintegrating life. Jaoui plays Barberie’s interior collapse with affecting understatement, a sense of strenuous calm masking more chaotic insecurities. “I don’t know if I know what my nature is,” she admits to her therapist, in a line that will strike a chord with many viewers of a certain disposition.
Like many of Fillières’ characters, Barberie specializes in such casual self-scrutiny. The film around her, however, hasn’t the same clarity. Too many scenes of her erratic behavior and befuddling interactions with others feel merely adjacent rather than cumulative: Minus the director’s first-hand input, editor François Quiqueré assembles what may be an appropriately diffuse patchwork of a life in disarray, but the structuring stresses and specificities that make a rich character study are missing.
A third-act pivot into outright whimsy, as Barberie journeys to Scotland to find her own personal place in the world, sits oddly with the more stoic realism of her psychological recovery. With Emmanuelle Collinot’s lensing consistent in its flat brightness, and no musical score save for some light banjo strumming by quirky actor-musician Philippe Katerine (here cast as a kind of fuzzy mascot for free-minded living), the film’s formal sparseness provides few stylistic cues for its peculiar tonal switches. Still, one can understand why the late director’s heirs and collaborators have fashioned the final film to foreground her script as much as possible. “This Life of Mine” presents a woman’s words — written or spoken, sometimes only to herself — as her final defense from oblivion.
Reviewed at Cannes Film Festival (Directors' Fortnight — opener), May 15, 2024. Running time: 99 MIN. (Original title: "Ma vie ma gueule")
- Production: (France) A Christmas in July production in association with Jour2fête, The Party Film Sales. (World sales: The Party Film Sales, Paris.) Producer: Julie Salvador.
- Crew: Director, screenplay: Sophie Fillières. Camera: Emmanuelle Collinot. Editor: François Quiqueré. Music: Philippe Katerine.
- With: Agnès Jaoui, Angélina Woreth, Édouard Sulpice, Philippe Katerine, Valérie Donzelli, Laurent Capelluto, Isabelle Candelier, Emmanuel Salinger, Maxence Tual. (French, English dialogue)
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Writer review: సముద్రఖని కీలక పాత్రలో నటించిన 'రైటర్' ఎలా ఉందంటే? Writer review: రివ్యూ: రైటర్ | writer-telugu-movie-review
సుహాస్ ప్రధాన పాత్రలో నటించిన 'రైటర్ పద్మభూషణ్' (Writer Padmabhushan) ఎలా ఉందంటే..? Writer Padmabhushan Review: రివ్యూ: రైటర్ పద్మభూషణ్ | writer padmabhushan cinema review
Writer: Directed by Franklin Jacob. With Maheshwari Chanakyan, Dilipan, Iniya, Al Hasan Milad. A writer at a police station gets trapped in an illegal custody case involving an innocent PHD student. With his guilt and regret looming large, can he save the young man?
Writer movie review |రైటర్ మూవీ రివ్యూ...పోలీస్ వ్యవస్థలోని మరో కోణం
Verdict. On the whole, Writer Padmabhushan is a engaging film that is a perfect blend of humour and sentiment. The message the director wanted to convey to the viewers is clear and one will connect to it for sure. Suhas's performance and the climax portion are the assets of the film.
Writer Review. Review by IndiaGlitz [ Friday, December 24, 2021 • Telugu ] Preview; ... Telugu Movie Reviews Rathnam My Dear Donga Parijatha Parvam Tenant Market Mahalakshmi Kaliyugam Pattanamlo.
Production: Pa. Ranjith, Abhayanand Singh, Piiyush Singh, Aditi Anand. Music: Govind Vasantha. 'Writer', the Telugu-dubbed version of a Tamil movie by the same name, is streaming on AHA. In this ...
Writer is a 2021 Indian Tamil-language crime thriller film written and directed by debutant Franklin Jacob and produced by Neelam Productions in association with Golden Ratio Films, Little Red Car Films and Jetty Productions. The film stars Samuthirakani and Hari Krishnan, and the music is composed by Govind Vasantha. The film was released in theatres on 24 December 2021 and received positive ...
OTT Review - Writer Telugu Movie: సముద్రఖని నటించిన తమిళ సినిమా 'రైటర్'ను తెలుగులో అదే పేరుతో డబ్బింగ్ అయ్యింది. ఆహా ఓటీటీలో విడుదలైన ఈ సినిమా ఎలా ఉందంటే?
The movie begins by showcasing the character of Thangaraj (Samuthirakani) as a writer in a police station. He is an honest and sincere cop, but due to the corruption in the system, he closes a petty case unfairly.
Cast: Samuthirakani, Iniya, Lizzy, Hari Krishnan, GM Sundar. Director: Franklin Jacob. Storyline: A cop on the brink of retirement gets embroiled in an important case. He is fighting for a cause ...
Writer Padmabhushan is a 2023 Indian Telugu-language comedy drama film directed by debutant Shanmukha Prasanth. The film features Suhas in the titular role, along with Tina Shilparaj, Rohini and Ashish Vidyarthi. The film was released on 3 February 2023 to positive reviews from critics, and it became a commercial success.
Writer (2022), Crime Thriller released in Telugu language in theatre near you. Know about Film reviews, lead cast & crew, photos & video gallery on BookMyShow.
Writer Padmabhushan: Directed by Shanmukha Prasanth. With Suhas, Tina Shilparaj, Gowri Priya, Rohini. Padmabhushan, a 25-year-old aspiring writer based out of Vijayawada and his middle class family take us on a roller coaster ride packed with innocuous fun and soft emotions, with their heart in the right place.
3.5. Writer Padmabhushan Movie Review & Showtimes: Find details of Writer Padmabhushan along with its showtimes, movie review, trailer, teaser, full video songs, showtimes and cast. Suhas,Tina ...
'Writer Padmabhushan' movie review: A pleasing coming-of-age drama. ... It is a pleasant detour for Ashish Vidyarthi, who made a career in Telugu out of playing cruel and crude villains, as the ...
Writer Padmabhushan Movie Review: Critics Rating: 3.0 stars, click to give your rating/review,Suhas and rest of the cast steal the show in this film that'll leave you with a smile
Writer Padmabhushan Telugu Movie Review, Writer Padmabhushan Telugu Movie Review and Rating, Writer Padmabhushan Telugu Movie Rating, Writer Padmabhushan Movie Review ...
Writer Movie Review: Critics Rating: 3.0 stars, click to give your rating/review,A writer at a police station gets trapped in an illegal custody case involving an innocent PHD stude
Writer Padmabhushan focuses on a middle-class family in Vijayawada. The protagonist Padmabhushan (Suhas) is an assistant librarian who has written and published his first book titled Tholi Adugu ...
Writer Padmabhushan (2023), Drama Family released in Telugu language in theatre near you in . Know about Film reviews, lead cast & crew, photos & video gallery on BookMyShow.
OTT Review : Vidya Vasula Aham - Telugu movie on Aha. OTT Review : Varun Sandesh's Chitram Choodara - Telugu film on ETV Win. Review : Krishnamma - Revenge drama that works in parts. Review : Prathinidhi 2 - Mediocre political drama. Review : Aarambham - Fails to thrill. OTT Review: Heeramandi: The Diamond Bazaar - Telugu dubbed ...
తెలుగు న్యూస్ / ఎంటర్టైన్మెంట్ / Chitram Choodara Review: చిత్రం చూడర రివ్యూ - ఈటీవీ విన్ ఓటీటీలో రిలీజైన తెలుగు క్రైమ్ థ్రిల్లర్ మూవీ ఎలా ఉందంటే?
The Family Star is a 2024 Indian Telugu-language romantic action drama film written and directed by Parasuram, and produced by Dil Raju and Sirish under Sri Venkateswara Creations.The film features Vijay Deverakonda and Mrunal Thakur in lead roles.. The film was officially announced in February 2023 under the tentative title VD11, as it is Vijay's 11th film as the lead actor, and the official ...
The Cannes competition regular returns with his first English-language (but heavily Russian-accented) effort, about poet-punk-prisoner-gadfly-neo-Fascist Eduard Limonov.
Rating: ( 3.5 / 5) There is a simple and beautiful moment early in debutant Shanmukha Prasanth's Writer Padmabhushan that not only illustrates the protagonist's character but also doubles up as a whistle-worthy mass moment. Padmabhushan (Suhas) an aspiring writer has self-published his first novel, quite literally named ' Tholi Adugu '.
Running three hours, this film, scheduled for release by New Line and Warner Bros on June 28, is just "Chapter 1", first of an unusual planned series of four separate films (not sequels ...
Actor turned writer-director John Krasinski had a way with creatures in 'A Quiet Place,' but loses his way with the gentle children's drama 'IF.'
The film's bland English-language title is already indicative of how vulnerable Fillières' writing is to translation. The French title, "Ma vie ma gueule," makes a wryly derogatory ...
Occasionally a movie gets misleadingly marketed for understandable reasons, and so it is with "IF," a sweetly melancholy film from writer-director John Krasinski that the ads make look like a ...