#sharwanand emotional scenes

[don-lichterman]

Sharwanand And Sai Pallavi Breakup Scene | Dil Dhadak Dhadak Emotional Scene

Sharwanand And Sai Pallavi Breakup Scene | Dil Dhadak Dhadak Emotional Scene

Sharwanand And Sai Pallavi Breakup Scene | Dil Dhadak Dhadak Emotional Scene #DilDhadakDhadak #Sharwanand #SaiPallavi ————————————– For More Movies Subscribe:@https://www.youtube.com/GoldminesTelefilms Follow Us On Facebook:@https://www.facebook.com/OfficialGoldminesTelefilms Instagram: https://www.instagram.com/officialgoldminestelefilms Twitter: https://twitter.com/GTelefilms Watch Full movie…

[gnanodayam]

Sathamanam Bhavathi review - 3.25/5

Got to watch the third Sankranthi release Sathamanam Bhavathi yesterday. It is a feel good movie and I liked it. The movie is about how we tend to prioritize our work life over family values. In movies like these screenplay is the boss as there is no suspense element or a conflict between hero and villian in the story.

Prakash Raj lives in a village and loves the village life. He is involved in good samaritan works and keeps himself busy with his farm. All his children are settled abroad. His wife (Jayasudha) keeps missing the children and one fine day issues an ultimatum to Prakash Raj that she will live with her children of they don’t come to and visit them for Sankranthi festival in the village. What Prakash Raj does to satisfy his wife and how he and Sharwananad teches them that family life with parents should be prioritized forms the rest of the story.

Sharwananad plays an extremely good guy character who takes everything in a positive way. His love track with Anupama Parameswaran in the first half is the highlight of the movie. He is good except in the climax where a more experienced actor could have brought out the emotions in a much better manner. Anupama Parameswaran is ok, the problem is that she is extremely natural actress, a role like this demands feel good factor and some melodrama. She underplayed her character. Prakash Raj is tremendous as always, Jayasudha started to become a bit monotonous, person who played the character of elder son is very good and left a mark, second son is poor in acting, Indraja who played the daughters role is ok. Naresh who plays Sharawanand’s father’s character offers comedy and is good

First half of the movie is very good with a love track which you will fall in love with. Second half gets into preachy mode and is boring at points. Director got carried away in few scenes like the episode where Sharwanand helps the elder son meet his love interest.

Overall it is a nice family entertainer this Sankranthi. With Khaidi No.150 and Gautamiputra Satakarni both being intense and action packed this movie offers something different. 

[todaybharatnews]

via Today Bharat nbsp; The film is a charming re-creation of the Tamil lsquo;96rsquo;, narrating a pure tale of teenage love that manages to retain its serenity over a long period. nbsp; I wonder why some love stories work and some donrsquo;t. In each one of us, there is an eternally hopeless romantic and in each one of us is also a cynic who scoffs at the pangs of first love, maybe even cringes. Some movies bring out the former version of us, and some bring out the latter version. A lot of things have to click together to make audiences weep quietly and smile through tears, relate to a love tale playing out on the big screen, be enchanted enough to forget that we are just watching a movie, not real life. 96 did that brilliantly. Jaanu is a scene-to-scene remake of that charming brilliance, but I do not think it has quite the magic. However, it would be unfair to compare remakes with originals, for the second time around there is always a bar to reach, the hopeless romantics have raised their guard and hidden away and the surprise element isnrsquo;t there to break down that guard. Making those concessions, along with the concessions for linguistic differences, I think Jaanu does a wonderful job. It is not 96, but otherwise, it is a charming re-creation that narrates a pure tale of teenage love that manages to retain its serenity over a long period, only to sprout one fine evening with a fresh radiance. Sharwanand plays K Ramachandran, a travel photographer in his 30s, who hasnrsquo;t managed to move on from the girl he had loved in school, Jaanu. At their school reunion, the childhood lovers are just as starstruck as they were 17 years ago. And the hours they spend together before Jaanu has to return to her life ndash; her husband and child in Singapore ndash; allow them to recount their love and the miscommunication that cost them a fairy-tale ending. We need to look at Jaanursquo;s character sketch in two parts, the teenage one (Gouri Kishan reprises her role in 96 and plays it with the same tender elegance) and the one all those years later. But the big moment was Samantha stepping into the massive shoes of Trisha (not for the first time). I think itrsquo;s probably a moment of cinematic history too that Samantharsquo;s entry got the loudest cheer from the audience (we are in 2020 and finally we have learnt to appreciate a good female actor, and probably the protagonist of a movie). Samantha eases into a role that focuses heavily on her countenance ndash; every movement of her eye, every twitch, every frown, every turn of red on her face, the flush and blush, all of it. The second half of the movie is an ode to how much a good actor can express on her face, especially when there isnrsquo;t a lot of dialogue. It is a massive burden that Samantha carries with elan, given Sharwanandrsquo;s character is more an awkward man who hasnrsquo;t moved on from his teenage uneasiness. So, even though Sharwanandrsquo;s supporting act is impressive, Samantha is the one who carries the weight of a lot of untold, unsaid emotions. Govind Vasantharsquo;s music has an ethereal element to it, filling all the gaps which a nostalgia-ridden love story, with whirlpools of emotions, is bound to create. In a way, Jaanu is two love stories, the teenage love, the pangs of first brush with a bittersweet emotion, and the mature adult love based on respect and admiration, unchanged despite the grind of time and circumstance. Where the movie doesnrsquo;t do justice is in the selection of all those teeny-tiny song bits Jaanu keeps singing right through the movie. In Tamil, those bits were perfect; in Telugu, they are mostly jarring. A lot depended on those non-ornamental song bits (call each of them a cappella) being spot on to stir the emotions. I could sense that director C Prem Kumar, who decided to repeat everything he did with the Tamil version, went ahead with a sense of lsquo;I got thisrsquo; rather than with a sense of lsquo;how can I refine what I already didrsquo;. For example, in both versions of the movie, the director tries to portray Ram as the lsquo;nice guyrsquo; who respects women. We hear Jaanu praising him for how safe he is for women. But the lsquo;nice guyrsquo; is a tad bit overdone. We do not need to emphasise the fact that the nice guy has a problem if his students wear sleeveless clothes. Ideally, itrsquo;s not his business, and Ramrsquo;s character doesnrsquo;t need that detail. But it repeats, which shows that more new thought hasnrsquo;t really gone into the script, where it should have. And in trying to repeat the template as it is a little bit of the charm and magic drifts away, both in the way moments play out and in the way Gouri or Varsha (both reprising their rather important cameos) act in the movie. Take, for example, the mesmerising scene where Jaanu cycles back to Ram, who is sad that holidays have arrived, now that they have finished school. Without saying anything she splashes ink on his shirt and asks him not to forget her. Scenes like that work on a charm that is hard to mechanically reproduce. And Aadithya Bhaskarrsquo;s young Ram pulls off that innocence that I couldnrsquo;t really see in Sai Kiran, and I had wished the director made sure they got it absolutely spot on. (Another reason why scene-to-scene remakes are sometimes troublesome, the lethargy of having done it all this once before doesnrsquo;t quite let you push for perfection). Vennela Kishore as Ramrsquo;s friend Murali is stranded too barring a couple of funny moments, not quite the spontaneity of Bagavathi. I liked Mahendiran Jayarajursquo;s camera work, and with high technical richness, every frame was a treat to watch, easy on the eye, heart and soul. All in all, Jaanu is a wonderful movie, if not compared to the original. That credit is due to Prem Kumarrsquo;s writing, as he manages to bundle together a bunch of mixed emotions into a musical journey. Whether it is Ram requesting Jaanu through others to sing his favourite song lsquo;Yamuna Thatilorsquo; (which she does eventually, during a power-cut as he frantically searches for a flashlight to be able to see her face), fainting every time she places her palm on his heart or revealing to her how he has kept a tab on everything that has happened to her while maintaining a lsquo;safersquo; distance not to bother her ndash; the movie is a treasure trove of beautiful moments. It also manages to gently touch on a sensitive topic, that of stalking and the pain and discomfort it could cause to women who find it hard to speak about it or confront the problem. Ram is the nice guy next door, the quintessential friend women would probably like, and Jaanu is his lifelong muse. These two make the tale special and make you want to spend more time with them as they reminisce their short-lived happiness.