#hindi new hit song

[mrpeace123123]

Tu Hi NA One Of The Best Song Of 2023 - 2024

[aodmusic786]

Watch "besharam bewafa song" on YouTube

[onlinedigtal]

Agar aap Hindi songs ke shaukeen hain aur naya MP3 gaana play karne ka man hai, to yeh track aapke liye hai.

[jayhoshow]

Kumar Sanu's take on changing landscape of hindi music

[severetravelerhologram-blog]

Jaan Hai Meri Song: Radhe Shyam | Prabhas, Pooja Hegde | Armaan M, Amaal M, Rashmi Virag, Bhushan K

Presenting song ‘Jaan Hai Meri’ from the movie #RadheShyam Gulshan Kumar and T-Series present, a UV Creations in …

[floofeh-purpi]

Getting Isekai'd?! (Part 4)

Sagau! Genshin Fatui x Gn! Reader (ft. Your bsf)

『Beloved fluffball/s mentioned below! 💜』

@justmare @mc-cos-charm

YEY NEW FLUFFBALL, HIII!!!

☆

Sidenote: CUS ITS BEEN RAINING IN MAINLA HINDI KABA NILALAMIG?! (Song reference lol) 😫

Warnings: Cursing, grammatical/spelling errors, my delulu-ahh brain forgot to write english isnt my first language and im too lazy to edit the other warnings again, me probably switching the povs alot because... yeah, filipino reader maybe speaking tagalog and bisaya, mentions of you having a wound on one of your feet, blood, author's shitty attempts at making you laugh.

【Part 3】

☆★☆★☆★☆★☆★☆★☆★☆★☆★☆

You eventually woke up from your nap coma with a sore ass throat and a somehow still fully batteried phone. "Ok, how the fuck is my phone still 100%?! 😰 But atleast I dont have to wait 2 hours to charge my phone lmao." You mused out inside your head cus you'd say it out loud ur throat would even more sore than it already fucking is.

"I should've bought a water bottle with me earlier... ☹" You thought as you putted your phone inside one of the pockets of your pajamas and slowly went downstairs and went to the kitchen.

You sneaked into the kitchen undetected by guests. Because all you wanted to do right now was sleep again rest. Anygays, you gobbled the entire glass of water within one go and putted the glass into the sink. "Nah, y/b/f/n's gonna wash them dishes today lmao." You thought before you plugged your earphones into your phone and listened to your playlist while humming softly to the song before going upstairs.

☆

The harbingers heard someone humming in where they assumed is the kitchen before someone passed by the living room still humming and with a tiny-ahh smile going upstairs. "Oh my~ Who was that beautiful person~?" Asked the Damselette. Its true though, you were the prettiest person y/b/f/n met. "That was Y/n. :)" The harbingers and the Tsaritsa's eyes widened at that name. But are still in denial because they need to confirm just one more thing. Denial, denial, denial IS a river in Eygpt 💀🙌

☆

You eeked mentally when your playlist started playing 'Good Looking by Suki Waterhouse' (Recommend listening to it 10000/10) since you dont have spotify premium and you ran out of skips. 😔

You sat down on the chair infront of your desk, which was messier than dogshit. "Omfg im too lazy to clean it up rn 😭🙌" you thought before you grabbed some paper that you totally didnt rip out from y/b/f/n's notebook like 2 days ago before yall were isekai'd and started drawing basically a city. Aka the city you lived in before this fiasco happened.

*Insert your drawing here cus I cant find anything that was close to my imagination 🥲*

After you finished drawing, you gave your arms a very well needed stretch you desperately needed that shit after sitting down with a posture looking like a fucking shrimp if you looked at what you looked like in the side for 3 fucking hours while your earphones were still playing music, "Finally done, im tired again lmao" you thought before you slept on your chair like when its math class 💔 because you were too fucking sleepy to even get out of your chair its comfier that those damned armchairs you'd sleep on during math class. 💀

But then, your foot accidentally hitted the leg of the table so fucking hard, that it caused the sleepiness in you to go *poof* "PUTANG INA NING LAMESA 👹" (Fuck this table) you yelled loud enough for only yourself to hear you held back your tendency to scream out filipino curses loud enough for the entire damn universe to hear you because... well, the people downstairs... Are downstairs...—

You felt your atoms and dna coursing inside you still shaking at the collision of your foot and the table, whats even worse is that the foot was the one that was wounded, which made the pain all the fucking worse.

"Bandages be damned. I need to fucking change these little shits. Bweshet nih. 😔" You cursed out loud as your throat wasnt as sore as earlier we call it mineral water for a reason /jk, you made your way into your bathroom while not walking normally.

♤

You were just drinking some water in kitchen peacefully, and of course your clumsy ass hand somewhat slipped and you accidentally dropped it onto the floor... and your foot. You winced at shards of bloodied glass digging into the flesh of your foot as sat on the nearest chair while y/b/f/n tended to your wound/s OHMIGASH KILIG NAKO AYIEEEEEEE!!!!!

♤ (End of flashback)

You got some bandages which were fortunately on the sink from the last time you changed your bandages and forgetting to put it back to its original place AGAIN, but you didnt give a shit rn. But as soon as you unwrapped your bandages, instead of the crimson blood you were expecting to see on your wound, the blood was... golden.

"...What the fuck?"

☆

YEY FINISHED PART 4!!! My hands are tired from holding the phone but its ok ❤

Filipino readers where u at? 😭

【Part 5】

Published: June 30 2024. 10:38pm.

[weirdly-specific-but-ok]

Heyy, hope you're better now after that Good Omens s02 ending, and if not, sending lots of long hugs - actually sending hugs either way 🫂 (I rewatched the season on this new year and cried yet again, plus yeahh, every post about the final fifteen hits right to the core ):).

Sorry if the question is weird but you mentioned in a recent post about listening to an old hindi song from a 1990s military movie which also reminded you of AziraCrow. Being a native hindi speaker, I was excitedly interested but couldn't guess the original song from the translated lyrics. So if possible, could you please tell which song it was? And if any other hindi songs you've heard that might remind you of the Ineffable Husbands. I remember, for more than a few months, almost all songs I listened to reminded me of them as well - Salamat, from the movie Sarbjit, is the one that's popping up in my head right now, soo if you're interested, definitely recommended!

Again, sending hugsss, and now that the third season is renewed, may we get closure soon! B'byeee!

Hello anon maggot thank you so much take all the hugs too. We're all dying together with brainrot, aren't we.

The Hindi song in question is Har Koi Chahtha Hai (Ek Mutthi Asaman), the title song of an old movie. Thank you for the song rec! I'm afraid I don't know many songs in Indian languages, and you've probably heard all of these, but Akhiyaan, Agar Tum Saath Ho, Tum Hi Ho, and Baarish remind me of our favourite ineffable idiots. I've linked them in case any maggots who haven't heard these want to.

(for non-Hindi speakers, the last one Baarish reminds me of them because baarish means rain, and Crowley's method for falling in love involving a rainstorm and getting two people wet and staring into each other's eyes lives rent free in my head)

[bollywoodirect]

Tribute to Saraswati Devi, the first woman music director in Hindi films, on her 44th death anniversary (09/08/1980).

Born in a Parsi family in 1912, Saraswati Devi was a trained classical singer and rose to become India’s first woman music director of Bollywood.

A musical rage in the 30s and early 40s, Saraswati Devi's musical career was mostly confined to films produced by Bombay Talkies. Starting with 'Jawani Ki Hawa' in 1935, she went on to compose highly popular music for hit films like Achhut Kanya, Kangan, Bandhan and jhoola.

She was born as Khursheed Manchersher Minocher – Homji.

She changed her name to escape the wrath of the conservative elements of her community as they could never stand that a lady from their clan would enter the film world.

Once when at a gathering the Bombay Talkies owner Himanshu Rai heard her, he instantly invited her to join his concern as a music director. She was reluctant at first, not knowing how she would adjust herself to the needs of the film industry. But finally she accepted the offer.

She was the first woman music director no doubt. But the biggest challenge she faced was to groom non-singers into singers. That was a very, very big challenge in view of the competition from New Theatres as she didn’t have a Saigal or a Kanan to sing her compositions. That is why one should say that she had a formidable task to perform unlike her counterparts like R.C.Boral, Tamir Baran and others in Calcutta.

The biggest contribution by Saraswati Devi, therefore, was to produce hit songs through the lips of non-singers like Ashok Kumar, Devika Rani and Leela Chitnis.. Right from Achchut Kanya till Jhoola, Saraswati Devi went on rampage, so to speak, producing one hit after another. Leela Chitnis could sing hit songs like, ‘Meera ke jeevan ki sooni parri re sitar’ (Kangan), ‘Man bhavan lo sawan aya re’(Bandhan) and ‘Jhoole ke sang jhoolo jhoolo mere man’.(Jhoola) Imagine Saraswati Devi producing a golden jubilee hit in the voices of Ashok Kumar and Devika Rani in film ‘Achhut Kanya’ (a film that Nehru saw and appreciated)-‘Main ban ki chirriya ban ke ban ban bolun re’. The biggest hit by her was the marching song of Bandhan, ‘Chal chal re nau jawan’ sung in solo by Ashok Kumar, sung in chorus by Ashok Kumar and sung as a duet by him with Leela Chitnis. She used a non-singer like Sneh Prabha to sing the Puner Milan song, ‘Nacho nacho pyare man ke mor’. The male singer she had was Arun Kumar, who sung for Kishore Sahu in Punermilan, for Mumtaz Ali in ‘Jhoola’ (Main to Dilli se dulhan laya re he babuji) and others. Incidentally, it was she who gave break to Kavi Pradeep as a singer though he was writing lyrics for the concern since 1939 from film ‘Kangan’. She first used him in that immortal song of ‘Bandhan’ which is played in the back ground: ‘Piyu piyu bol praan papeehe piyu piyu bol’ Pradeep did sing subsequently some big hits after leaving Bombay Talkies. But in ‘Jhoola’ he has left behind a memorable song too tuned by Saraswati Devi: ‘Mere bichade hue saathi teri yaad sataye, baar baar teri chavi aye birha agan jaraae’

After she left Bombay Talkies, she shot into limelight again in the early fifties when she tuned two non-film ghazals for Habib Wali Mohammad. These were: ‘Lagta nahin hai dil mera ujjarre dayar mein’ and ‘Yeh na thi hamari kismet ke visaal-e-yaar hota’. When you listen to her compositions, specially the indigenously-flavored background music, you are transported into the environment of the India of the early 20th century.

During the later years of her life, the bad and selfish film world turned apathetic towards the doyenne. Not even a single person visited her when she fractured her hip bone after falling from a private bus. The legendary singer and India’s first female music director left for a better world in 1980 with no one to mourn her death. Even the media did not find her worthy of an obituary. Image: Saraswati Devi, Lata Mangeshkar, Madan Mohan, Jaikishan, Anil Biswas and Naushad

[aodmusic786]

Watch "maan meri jaan dj remix || lofi mix || Aod music" on YouTube

[radiohaanji]

Radio Haanji: Experience the Best of Punjabi & Hindi Radio station and Podcasts in Australia

In today’s world, staying connected to your culture while enjoying fresh, exciting content is essential. Radio Haanji is here to provide just that—whether you’re in Melbourne, Sydney, or anywhere across Australia. We are your one-stop destination for the finest in Punjabi and Hindi entertainment, bringing you everything from the latest music hits to podcasts, news, and community stories.

Radio Haanji: More Than Just a Radio Station

What makes Radio Haanji different? We don’t just play songs—we create an immersive entertainment experience. We’re a lively hub for Punjabi hit songs, Hindi podcasts, and cultural programs, delivering the perfect blend of content to keep you entertained around the clock. Every show, every podcast, and every song brings you a piece of home while embracing the rich diversity of Indian and Punjabi culture.

24/7 Non-Stop Entertainment – Always On, Always Entertaining

At Radio Haanji, we’re not about downtime. Our station is always live, broadcasting the very best in Punjabi FM radio across Australia. Whether you’re driving through the streets of Melbourne or relaxing at home in Sydney, we’re with you every step of the way. From heart-thumping Bhangra beats to soothing melodies, our station keeps the energy alive and flowing.

The Pulse of Indian Radio in Melbourne & Sydney

Whether you’re tuning in from Melbourne or Sydney, Radio Haanji has something for everyone. Our Indian radio station in Melbourne brings you the latest news, Bollywood hits, and cultural insights, while our Sydney-based station offers the same vibrant mix with a Punjabi twist. We connect communities, tell stories, and celebrate the Indian and Punjabi cultures in every broadcast.

Dive Into Our Punjabi Podcasts

Love podcasts? We’ve got just the thing for you! Our Punjabi podcasts are the perfect blend of entertainment, knowledge, and culture. Covering everything from lifestyle topics to inspiring interviews and current community issues, these podcasts are designed to keep you engaged no matter where you are in Melbourne or Sydney.

Take It to the Next Level – Explore Our Punjabi YouTube Channel

For those who want more than just audio, our Punjabi YouTube channel delivers a whole new level of engagement. Whether you want to watch interviews, music videos, or behind-the-scenes content, Radio Haanji’s YouTube channel provides a rich, interactive experience that goes beyond radio.

Why Radio Haanji Is the Best in Australia

Non-Stop Fun: Broadcasting 24/7 so you never miss a moment of your favorite shows and music.

Culturally Rich: A perfect blend of Punjabi and Hindi content, including news, podcasts, and hit songs.

Community First: Focused on bringing the Indian and Punjabi communities in Australia closer together.

Accessible Anywhere: Tune in live on the go, at home, or from your car via our online streaming platform.

Ready to Tune In? Contact Us Today

Join the Radio Haanji family! To listen live or learn more, visit haanji.com.au or contact us at 0447 171 674 or 039 356 0344.

At Radio Haanji, we believe in the power of music, culture, and community to keep you entertained and inspired. “In music, as in life, every moment is a new beginning.” Tune in today and let the rhythm of your culture fill your heart!

[thescribbleddiaries]

Bollywood Vs The South Indian Cinema

Introduction to Bollywood and South Indian Film Industries

India is renowned for its vibrant and diverse film industries, with Bollywood representing the Hindi-language cinema based in Mumbai and the South Indian movie industry encompassing Tamil, Telugu, Malayalam, and Kannada films. Each of these industries has its own unique characteristics, cultural influences, and star power that have captivated audiences worldwide. In this article, we explore the dynamic landscape of Bollywood and South Indian cinema, delving into their historical evolution, box office impact, global recognition, stylistic elements, talent pool, evolving trends, and the challenges and opportunities they face in the ever-changing world of cinema.

Overview of Bollywood and South Indian Movie Industries

Introduction to Bollywood and South Indian Film Industries

Bollywood, the Hindi-language film industry based in Mumbai, and the South Indian movie industry, comprising Tamil, Telugu, Kannada, and Malayalam cinema, are two powerhouses of Indian cinema known for their unique styles and storytelling.

Historical Development and Growth

Bollywood traces its roots back to the early 20th century, while South Indian cinema has a rich history dating back to the 1930s. Both industries have evolved over the years, embracing new technologies and trends to captivate audiences worldwide.

Cultural Influences and Diversity in Bollywood and South Indian Films

Themes and Storytelling in Bollywood Films

Bollywood films often explore themes of love, drama, and family relationships, blending extravagant song-and-dance sequences with emotional storytelling that resonates with audiences of all ages.

Regional Diversity in South Indian Cinema

South Indian cinema, on the other hand, boasts a diverse range of genres and storytelling techniques across its different language industries, showcasing rich cultural traditions and narratives unique to each region.

Box Office Success and Market Reach of Bollywood vs South Indian Cinema

Box Office Performance of Bollywood Films

Bollywood films have a global appeal and consistently dominate the Indian box office, with big-budget productions and star-studded casts drawing massive audiences both domestically and internationally.

Market Dominance of South Indian Cinema in Regional Markets

While Bollywood enjoys a wide reach, South Indian cinema holds sway in its respective regional markets, with loyal fan bases and a steady stream of hit films that cater to the diverse cultural preferences of audiences in the South.

Impact of Bollywood and South Indian Films on Global Cinema

International Recognition and Film Festivals

Both Bollywood and South Indian films have garnered international acclaim, with entries in major film festivals and recognition for their unique storytelling, performances, and technical brilliance that transcend cultural boundaries.

Global Box Office Influence

The global popularity of Bollywood and the rising profile of South Indian cinema have expanded the reach of Indian films on the world stage, influencing trends in filmmaking and attracting a diverse audience eager to experience the magic of Indian cinema.# Unique Characteristics and Stylistic Elements in Bollywood and South Indian Movies

## Musical Elements in Bollywood Films Bollywood movies are known for their infectious songs and dance sequences that range from emotional ballads to energetic dance numbers. These musical interludes often become chart-topping hits and play a significant role in the storytelling of the film.

## Action and Visual Effects in South Indian Cinema South Indian cinema, particularly in the Tamil and Telugu industries, excels in high-octane action sequences and cutting-edge visual effects. From gravity-defying stunts to larger-than-life fight scenes, South Indian movies set the bar high when it comes to adrenaline-pumping action on screen.

Talent and Star Power: A Comparison between Bollywood and South Indian Film Industry

## Superstars of Bollywood vs South Indian Cinema Bollywood boasts of iconic stars like Shah Rukh Khan, Salman Khan, and Aamir Khan who have a massive global fan following. On the other hand, South Indian cinema has its own galaxy of superstars including Rajinikanth, Vijay, and Prabhas, who command immense popularity and loyalty from their fans.

## Emerging Talent and New Faces in the Industry Both industries are witnessing the rise of talented newcomers who are making a mark with their fresh acting skills and unique personas. Whether it's Bollywood's Sara Ali Khan or South Indian sensation Rashmika Mandanna, the influx of new talent ensures a dynamic and evolving film landscape.

# Evolution and Trends in Bollywood and South Indian Cinema

## Technological Advancements and Digital Impact With advancements in technology, both Bollywood and South Indian cinema are embracing CGI, VFX, and digital filmmaking techniques to enhance the visual appeal of their movies. This digital revolution has revolutionized the way films are made and consumed, opening up new possibilities for storytelling.

## Changing Audience Preferences and Genre Shifts Audiences' tastes are constantly evolving, leading to a shift in the kinds of films being made in both industries. While Bollywood is exploring diverse genres beyond traditional romances and dramas, South Indian cinema is experimenting with unconventional narratives and pushing the boundaries of storytelling.

# Challenges and Opportunities for Growth in Bollywood and South Indian Movie Industries

## Piracy and Copyright Issues One of the major challenges faced by both industries is piracy and copyright infringement, which affects the revenue of filmmakers and producers. Finding effective ways to combat piracy and protect intellectual property rights is crucial for the sustainable growth of the Bollywood and South Indian movie industries.

## Collaborations and Co-Productions for Global Reach To expand their reach and appeal to a global audience, collaborations and co-productions between Bollywood and South Indian filmmakers are becoming increasingly common. By joining forces and sharing expertise, the industry can leverage international markets and create content that resonates with a diverse audience worldwide.As we conclude our exploration of the Bollywood and South Indian movie industries, it is evident that both have made significant contributions to the world of cinema, showcasing diverse storytelling, cultural richness, and immense talent. While Bollywood's global reach and iconic status continue to shine, the South Indian film industry's regional dominance and unique offerings are equally noteworthy. With ongoing evolution, emerging trends, and the constant pursuit of excellence, these industries stand poised to shape the future of Indian cinema and captivate audiences for generations to come.

[malaidarling]

Any Punjabi music recs? 👀 I'm not learning the language quite yet since I'm focusing on Spanish and Russian until I'm back in a place I know has more Punjabi resources, but I'd love to listen to the language more!

uhhh most of the music i know is party music that goes way hard and everyone knows (illegal weapon by garry sandu, kala chashma by prem & hardeep, lahore by guru randhawa, na ja by pav dharia, off the top of my head. also wakhra swag by navv inder, which my dad uses as a ringtone)

my parents really like harrdy sandu and i do too bc all of his songs get stuck in your head so quick!! my dad named our new car after a song by him called bijlee bijlee, which means lightning/electricity, because it's a nice blue lol.

i also like bajre da sitta, and consequently all the songs that are on a soundtrack for a movie by the same name <3 it's a nice movie and the girls have such lovely voices.

some more random ones that idk how i know... waalian by harnoor, kinni kinni by diljit dosanjh. hm. yeah, i don't know that many tbh. spotify playlists will pop up immediately with some fire music when you look tho. tbh i’m not the biggest fan of punjabi music outside of parties so i don’t know much more besides popular hits, as much as i would like to. i also listen to a lot of songs that are more hindi/punjabi mixed than just punjabi, so i tried to list songs that are more on the authentic side? i don't know if i succeeded lol.

i hope i could help! thank you for the ask :)

[worldwidemovies012]

Thangalaan review

: Pa Ranjith's film is intertwined with some fantasy and mystical realism. A must watch for Vikram fans.

Thangalaan is a period action drama starring Vikram, Parvathy Thiruvothu and Malavika Mohanan in the lead roles. The film is directed by Pa. Ranjith, produced by Studio Green K.E.Gnanavel Raja and the music is scored by G.V. Prakash Kumar.

Premise:

Britishers are in a wealth hunt, they take tribal people to work for them. Strange visions of Vikram to lead the troop to the Gold-rush area. What happens after forms the crux of the story.

Writing/ Direction:

Gold is the base of the film, the film showcases how it was handled in the 19th century by our rulers. Well-researched in terms of landscape, the way people look and the terms they use, which is sure to take the viewers back in time. The fantasy element is intriguing, the dynamic development of it is one of the few appreciable aspects of the film, the closure to it makes sense, sadly it is rushed by leaving no impact. The first half is like an adventure flick, with many different themes tried, but the result is extremely flat.

No clarity in the fight scenes as to who is winning and who is losing, the Black Panther sequence is a big dud with poor vision and the heavy smoke effects used lowers the visual standard.

Pasupathy’s humour portions are a big relief to the dry screenplay. The second half starts on a promising note with a few good scenes, displaying the happiness of the tribes for receiving new clothes, how the British treat the tribe with respect until they get to the Gold and shows their true nature after that, etc. Post which the film becomes dull with the slavery part not turning out to be emotional on-screen, the payoff is also very weak by bringing in a clumsy platter which is hard to consume. The biggest drawback of the film is the dialogue modulation of the artists which is probably authentic for the period, but had to go through hell to follow and understand.

Performances:

Chiyaan Vikram’s limitless efforts are evident on-screen, showing great variety in makeover, body language and expressions. Parvathy Thiruvothu is very casually natural on-screen, her scenes with the hero are lively, but the script required more to utilize the chemistry between them. Quite a challenging role for Malavika Mohanan, she has given her best, just wish she had more highlight action scenes to prove her full-potential. Pasupathy’s character started off fascinatingly, but then the arc was left abruptly without giving a proper ending it deserved. Stone-faced villains, the issue with foreign actors’ performances which the most Indian films have exists here too. The other supporting characters are written in a half-baked manner that we don’t get to feel for them.

Technicalities:

Meticulous work by G.V.Prakash, top quality songs overall, especially the Minikki Minikki track stands out and it is beautifully placed in the film. Solid score, his music made a lot of weak situations better, he has focused on what instruments to use as well. The visuals are first class, strong production value and location recce have led the team to explore new terrains, however the action is captured in an unimpressive manner. A lot of edit patterns and jump cuts are fascinating, but finesse is missing when things are simple, the packaging fails to engross. VFX is a mixed bag, the models look neat during the static shots, but the motions aren’t done right to make the sequences believable. Stunts lack punch, the approach is realistic but the output feels hurried.

Bottomline

Fantasy element is fine when it stands alone, falters when blent with reality. The film misses to hold the interest except for the initial chunk in the latter half. Had immense potential to be a hard-hitting flick, but it never took off from the ground level.

hindi:- थंगालान समीक्षा: पा रंजीत की फिल्म कुछ कल्पना और रहस्यमय यथार्थवाद से जुड़ी हुई है। विक्रम के प्रशंसकों के लिए यह फिल्म अवश्य देखें।

थंगालान एक पीरियड एक्शन ड्रामा है, जिसमें विक्रम, पार्वती थिरुवोथु और मालविका मोहनन मुख्य भूमिकाओं में हैं।

फिल्म का निर्देशन पा रंजीत ने किया है, जिसका निर्माण स्टूडियो ग्रीन के.ई. ज्ञानवेल राजा ने किया है और संगीत जी.वी. प्रकाश कुमार ने दिया है।

प्रस्तावना:

अंग्रेज धन की तलाश में हैं, वे आदिवासी लोगों को अपने लिए काम पर ले जाते हैं। विक्रम को सेना को गोल्ड-रश क्षेत्र में ले जाने के लिए अजीबोगरीब दृश्य दिखाई देते हैं। उसके बाद क्या होता है, यही कहानी का सार है।

लेखन/निर्देशन:

फिल्म का आधार गोल्ड है, फिल्म दिखाती है कि 19वीं सदी में हमारे शासकों ने इसे कैसे संभाला।

भूदृश्य, लोगों के देखने के तरीके और उनके द्वारा इस्तेमाल किए जाने वाले शब्दों के संदर्भ में अच्छी तरह से शोध किया गया है, जो दर्शकों को निश्चित रूप से समय में पीछे ले जाएगा।

फंतासी तत्व दिलचस्प है, इसका गतिशील विकास फिल्म के कुछ सराहनीय पहलुओं में से एक है, इसका समापन समझ में आता है, दुख की बात है कि इसे जल्दबाजी में बनाया गया है, जिससे कोई प्रभाव नहीं पड़ता।

पहला भाग एक साहसिक फिल्म की तरह है, जिसमें कई अलग-अलग थीम आजमाई गई हैं, लेकिन परिणाम बेहद सपाट है।

लड़ाई के दृश्यों में कोई स्पष्टता नहीं है कि कौन जीत रहा है और कौन हार रहा है, ब्लैक पैंथर का दृश्य खराब दृष्टि के साथ एक बड़ा डफ है और भारी धुएं के प्रभाव का उपयोग दृश्य मानक को कम करता है।

पसुपथी के हास्य भाग सूखी पटकथा के लिए एक बड़ी राहत हैं। दूसरा भाग कुछ अच्छे दृश्यों के साथ एक आशाजनक नोट पर शुरू होता है, जिसमें नए कपड़े प्राप्त करने के लिए जनजातियों की खुशी प्रदर्शित होती है, कैसे ब्रिटिश जनजाति के साथ सम्मान के साथ व्यवहार करते हैं जब तक कि वे गोल्ड तक नहीं पहुंच जाते और उसके बाद अपना असली स्वरूप दिखाते हैं, आदि।

इसके बाद फिल्म सुस्त हो जाती है क्योंकि गुलामी वाला हिस्सा स्क्रीन पर भावनात्मक नहीं बन पाता है, भुगतान भी बहुत कमजोर है क्योंकि एक भद्दा प्लेट पेश किया जाता है जिसे पचाना मुश्किल है।

फिल्म की सबसे बड़ी कमी कलाकारों के संवादों का उतार-चढ़ाव है जो शायद उस दौर के हिसाब से प्रामाणिक है, लेकिन इसे समझने और समझने के लिए नरक से गुजरना पड़ा।

प्रदर्शन:

चियान विक्रम के असीम प्रयास स्क्रीन पर स्पष्ट हैं, मेकओवर, बॉडी लैंग्वेज और भावों में बहुत विविधता दिखाते हैं।

पार्वती थिरुवोथु स्क्रीन पर बहुत सहज रूप से सहज हैं, नायक के साथ उनके दृश्य जीवंत हैं, लेकिन स्क्रिप्ट में उनके बीच की केमिस्ट्री का उपयोग करने के लिए और अधिक की आवश्यकता थी।

मालविक�� मोहनन के लिए काफी चुनौतीपूर्ण भूमिका, उन्होंने अपना सर्वश्रेष्ठ दिया है, बस काश उनके पास अपनी पूरी क्षमता साबित करने के लिए और अधिक हाइलाइट एक्शन दृश्य होते। पसुपति के किरदार की शुरुआत आकर्षक थी, लेकिन फिर आर्क को बिना उचित अंत दिए अचानक छोड़ दिया गया।

पत्थर के चेहरे वाले खलनायक, विदेशी अभिनेताओं के अभिनय की समस्या जो कि अधिकांश भारतीय फिल्मों में होती है, यहाँ भी मौजूद है।

अन्य सहायक पात्रों को आधे-अधूरे तरीके से लिखा गया है कि ��म उनके लिए कुछ महसूस नहीं कर पाते।

तकनीकी बातें:

जी.वी.प्रकाश द्वारा किया गया बेह��रीन काम, कुल मिलाकर बेहतरीन गाने, खास तौर पर मिनिक्की मिनिक्की ट्रैक सबसे अलग है और इसे फिल्म में खूबसूरती से रखा गया है।

सॉलिड स्कोर, उनके संगीत ने कई कमज़ोर स्थितियों को बेहतर बनाया, उन्होंने इस बात पर भी ध्यान दिया कि कौन से इंस्ट्रूमेंट का इस्तेमाल करना है।

विज़ुअल बेहतरीन हैं, प्रोडक्शन वैल्यू और लोकेशन रेकी ने टीम को नए इलाकों की खोज करने के लिए प्रेरित किया है, हालांकि एक्शन को बहुत ही कमज़ोर तरीके से कैप्चर किया गया है।

एडिट पैटर्न और जंप कट बहुत आकर्षक हैं, लेकिन जब चीजें सरल होती हैं तो बारीकियाँ गायब हो जाती हैं, पैकेजिंग भी ध्यान खींचने में विफल हो जाती है।

वीएफएक्स एक मिश्रित बैग है, स्टैटिक शॉट्स के दौरान मॉडल साफ-सुथरे दिखते हैं, लेकिन दृश्यों को विश्वसनीय बनाने के लिए गति सही तरीके से नहीं की गई है। स्टंट में दम नहीं है, दृष्टिकोण यथार्थवादी है लेकिन आउटपुट जल्दबाजी में किया गया लगता है।

बॉटमलाइन

फ़ैंटेसी एलिमेंट अकेले होने पर ठीक है, लेकिन वास्तविकता के साथ घुलने-मिलने पर यह कमज़ोर पड़ जाता है।

फिल्म के दूसरे हिस्से में शुरुआती हिस्से को छोड़कर बाकी हिस्सा दिलचस्पी बनाए रखने में विफल रहा। इसमें एक दमदार फिल्म बनने की अपार संभावना थी, लेकिन यह कभी भी जमीनी स्तर पर आगे नहीं बढ़ पाई।