#tollywood comedy

[theomenmedia]

Ajith Kumar's "Good Bad Ugly's" Recent Regional Theatrical Distribution Rights Deal Raises Some Questions

Breaking News! Ajith Kumar's "Good Bad Ugly" might be shifting from Pongal to Summer 2025! Speculation rife as Romeo Pictures secures theatrical rights, but no Pongal mention. Is "Vidaamuyarchi" taking the slot?

Read the full article here: https://www.theomenmedia.com/post/ajith-kumar-s-good-bad-ugly-shifts-gears-from-pongal-to-summer-2025

[vegamovies360]

The RajaSaan Movie

PRABHAS IN & AS ‘THE RAJA SAAB’… FIRST LOOK POSTER IS HERE… PAN-INDIA RELEASE… #Prabhas essays the title role in #TheRajaSaab, a romantic-horror entertainer… #Maruthi - known for directing several successful #Telugu films - directs #TheRajaSaab… #FirstLook…

Produced by TG Vishwa Prasad and co-produced by Vivek Kuchibotla, the film will release in #Telugu, #Hindi, #Tamil, #Kannada and #Malayalam… Thaman S scores the music.

[kevinsreviewcatalogue]

Review: Eega (2012)

Eega (The Fly) (2012)

Rated UA by the Central Board of Film Certification (rough MPAA equivalent: PG-13)

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/03/review-eega-2012.html>

Score: 4 out of 5

This past Friday, Popcorn Frights gave me my introduction to Tollywood cinema (no, not Bollywood -- same country, different language) in the form of Eega, one of the films that S. S. Rajamouli wrote and directed before RRR made people outside India start taking notice of him. An effects-driven fantasy action-comedy about a man who gets murdered, gets reincarnated as a fly, and sets out to take revenge on the man who killed him, its plot and tone felt reminiscent of the old '90s family comedy Mouse Hunt, only jacked up to a downright insane level courtesy of both some genuine edge to its plot and a truly great villain performance by Sudeepa that managed to cross language barriers. This was a wild movie, and while the first act was pretty weird in how it framed the romance that ultimately becomes a key driving force in the story, once the part with the fly got going I was too busy laughing my socks off and being impressed by some of the visuals that they managed to cook up on a fairly small budget (roughly $6-7 million US). It's on Netflix, so if you wanna see something absolutely wacky that's nonetheless an actual good movie as well, check this one out.

Our protagonist Nani is an ordinary man who's madly in love with his next-door neighbor Bindu, a miniatures artist whose day job is running an NGO that assists local schools, a feeling that she's finally starting to notice and reciprocate. Seeking to raise money for her organization, Bindu reaches out to Sudeep, a sleazy, womanizing local land developer who uses the promise of funding in an attempt to make Bindu his new wife -- and when he notices that Bindu also has eyes for Nani, Sudeep decides to kill the lowly worker in order to get him out of the way. Unfortunately for Sudeep, even death can't stop Nani's love, as he's reincarnated as a fly who fully remembers his past life and sets out to make Sudeep's life a living hell, slowly driving him mad as he starts to believe in the "crazy" idea that a fly has developed a grudge against him.

The first half-hour or so was a mixed bag, less due to the film's technical qualities (it could actually be quite charming, especially with the obligatory musical number) and more due to how it presented Nani's unreciprocated love for Bindu. To put it as nicely as possible, he's depicted as something close to a stalker in his constant attempts to get her attention, to the point that even his roommate calls him out for it, and yet it's presented as just a goofy character quirk even though, in real life, there's a reason why women get uneasy about that sort of behavior. Yes, this movie comes from a different time (2012 was just coming out of a golden age for pickup artistry) and a different country, and the film is self-aware about it and makes Nani the butt of the joke as much as anyone, but it's still kind of off-putting, especially given that it's implied that Bindu really was just playing hard to get and does eventually fall for him by the end of the first act. If I'd written their dynamic, I would've focused more on Bindu being an upwardly-mobile middle-class artist and professional and Nani being a working-class laborer, making it a situation where Bindu clearly has affection for Nani but is afraid of being judged for dating below her status, a dynamic that would've played nicely into Bindu's interactions with the wealthy villain Sudeep who wants to claim her as his trophy wife. Instead, the way it came across felt like an obsessive romantic successfully wearing down the object of his affection because she's decided that the alternative is worse, even if the film did at least have some self-awareness about how Nani was acting.

That said, once Nani dies and comes back, a lot of that fades into the background in favor of a nonstop mix of hilarious comic set pieces and genuinely entertaining action scenes. Rajamouli gives this movie a style and flair you don't normally see in fantasy comedies coming out of Hollywood, with the numerous effects shots especially making up for their low budget with a measure of cartoony stylization that goes well with what's (mostly) a very family-friendly film. Nani has as much lovable character as a fly as he did as a human, arguably moreso given that we're no longer shown his stalker-ish tendencies, while Samantha Ruth Prabhu as Bindu carries the entirety of their relationship as she has to spend most of the movie pretending that the love of her life is now inhabiting the body of a fly, complete with outfitting him with protective goggles to resist bug spray and tiny metal claws to let him scratch at things. Some moments in this movie get wild, from our introduction to Fly!Nani first learning how to be a fly by traveling through a park to him harassing a traffic cop to cause gridlock in an intersection to the bit where Sudeep hires a witch doctor named Tantra to possess two birds to send after the fly. This movie's mix of action and slapstick comedy is bursting with creativity, constantly coming up with new ways to make me laugh myself silly.

While the fly may be the main character, this movie would not have worked nearly as well as it did without the mononymous actor Sudeepa playing the film's main villain, the very similarly named Sudeep (without the "a"). Sudeep is a caricature of a yuppie scumbag, a guy who we're introduced to skeet shooting while hitting on a woman who's later revealed to be another man's wife, such that he makes Nani look like a downright catch in comparison. The torment he receives from the fly over the course of the film may be over-the-top, but he makes it clear throughout that he deserves every bit of it, seeing other people as props and NPCs in his own story and not caring who he hurts. What's more, Sudeepa clearly had a lot of fun playing this guy who's slowly losing his mind as a little fly refuses to leave him be. He felt like a rich douchebag out of an '80s Hollywood comedy who, whether he's the hero or the villain, is above all else the butt of every joke as the movie finds new ways to creatively torture him both physically and mentally, and his ultimate comeuppance at the end was very well-deserved.

(Also, if American blockbusters insist on getting longer and longer, maybe they should imitate the Indian moviegoing tradition of having an intermission. Popcorn Frights didn't actually do the intermission for this and jumped straight into the second half, and frankly, at 2 hours and 14 minutes this one wasn't too long, but still.)

The Bottom Line

Eega was an extremely charming and hilarious movie that had some rough edges early on, but otherwise made a great introduction for yours truly to both S. S. Rajamouli and Indian cinema in general, and earns my recommendation.

[afabstract]

Buddy Review - Furry Fiascos, Flat Jokes, and a Lot of Flying

‘Buddy’ Review: This Telugu remake of a Tamil action-thriller offers a bizarre mix of a teddy bear hero, organ racketeers, and a muddled plot.

⭐⭐ Rating: 1.5 out of 5. Sneha Jaiswal (Twitter | Instagram) A young woman is kidnapped by organ racketeers and finds her soul entering the body of her gigantic teddy bear. She teams up with a pilot to save human self, and in an incredible twist of fate, the pilot is also the same guy she has a massive crush on. Who would’ve thought that someone would make a wacky action-comedy-thriller about…

[cupidsbower]

Today’s entry in my Indian Film Fest looks at romcoms that don’t star SRK.

Fandom: Hum Aapke Hain Koun..! (1994), Main Prem Ki Diwani Hoon (2003), Bride and Prejudice (2004), Prem Ratan Dhan Payo (2015), Ek Ladki Ko Dekha Toh Aisa Laga (2019), Gatta Kusthi (2022), Shehzada (2023) Rating: General Audiences Warnings: No Archive Warnings Apply Additional Tags: Recommendations, Meta, Romantic Comedy

IFF Day 1

Introduction to Indian Cinema and a Primer for Watching

·        Chapter 1: Falling in love with Indian cinema

·        Chapter 2: Bollywood and SRK

·        Chapter 3: Primer for watching Indian films

·        Chapter 4: Power & Caste in India

Fanvid: i gotta feeling (SRK/Kajol, G)

IFF Day 2

Recommending Fantastic Indian Movie Dances

IFF Day 3

Shah Rukh Khan and Kajol Recommendations

IFF Day 4

Recommending Shah Rukh Khan RomComs

FanFic: A Kind Man (KKKG, Rahul/Anjali, Teen)

[popsixsquishcicerolipschitz]

Dr Rajkumar came Village to Palace Comedy Scene - Kannada Movie Super Comedy Scenes

Watch Kannada Movie Comedy Scene from the Kavirathna Kalidasa Movie. Starring Dr Rajkumar, Jayaprada, Balakrishna, Musuri Krishnamurthy on SGV Kannada Comedy Scenes Channel..!!

Subscribe to Kannada Comedy Scenes Channel and find Kannada New Comedy Scenes, Kannada Best Comedy Scenes

Kannada Movies, Kannada New Movies, Kannada Super Hit Movies, Kannada New Movies Full Length , New Kannada Movies 2018

Visit Our Other Channels :

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Sri Ganesh Video is the final destination for all Online Kannada Movies

Subscribe to Kannada Full Movies Channel and find all the Kannada Old Movies, Kannada Evergreen Movies, Kannada Super Hit Movies, Kannada Classic Movies, Kannada Latest Movies.

[gaurav075]

Varisu presents a well-executed crossover of genres, effectively utilizing each element to its full... To Read & listen the entire review of varisu click on this link & enjoy the review on substack

[cinegenics]

Shehzada (2023) Trailer Review - Cinegenics

The trailer for Shehzada, starring Kartik Aaryan, Kriti Sanon, Paresh Rawal, Manisha Koirala, and others, was released on Thursday.

Click the link in bio for more…

[magnus-the-maqnificent]

Tried to find my old post about South Indian horror films being so loving about ghosts but I couldn't so um. Anyways. Go watch Om Bheem Bush cause it's the movie of all time. It's marketed as a horror comedy, and it's fucking hilarious, and actually scary at some points *without* the use of any jumpscares.

And then you get to the last half hour and it's like. BAM!!! QUEER RIGHTS!!! The ghost's backstory is this beautiful yet painfully tragic love story, and honestly idk if I would call the couple a transfem/queer man or a crossdressing feminine gay man/gay man but it doesn't really matter, it's queer, it gets the message across really well, and it's a big fucking step for tollywood.

I'd go more into depth, but I don't really want to spoil anything anymore. The movie came out in theaters yesterday I believe, so go watch it!!!

[azul-nova-24]

Bollywood/Tollywood Ghost movie Idea.

Our heroine, Meera, is a quirky, overworked Doctor battling severe depression after a tragic accident that claimed her elder brother's life and parents life. She also has ADHD, leading her to constantly misplace things and blame herself for her scatterbrained tendencies. Meera moves into an old bungalow to start fresh, but the house has a problem: it's already occupied by Aditya, a ghostly "twink" who died under mysterious circumstances and desperately wants Meera out of his house.

Cue the first half of the movie: Aditya tries everything to scare her away—switching on the TV at 3 AM, misplacing her keys, or making spooky sounds in the night. But Meera just chalks it up to her ADHD and bad luck, leaving Aditya hilariously exasperated. His ghostly frustration peaks when she decides to "sage" the house and accidentally locks him in a closet for three days.

One day, a freak accident reveals Aditya’s presence to Meera. But instead of romantic sparks flying, they become frenemies, with constant bickering about rent, chores, and who gets the couch. Aditya's ghostly antics remind her of her late brother, and over time, he grows into the protective sibling figure she’s been longing for.

Aditya, tired of her moping and wanting to get her out of his house, decides to ghost-coach her into flirting with her charming office crush, Rohit. His supernatural wingman strategies include:

Possessing Meera’s body to deliver a perfectly timed compliment.

Whispering pickup lines into her ear during meetings (with varying degrees of success).

Spooking Rohit just enough to get him to notice Meera’s quirky side.

It is also heavily implied that Aditya really likes Rohit too.

Meanwhile, a subplot unfolds involving shady real estate goons searching for a land agreement that Aditya was killed for while alive. Meera, now determined to help her ghostly buddy get closure, takes on the mission to expose the villains. In a dramatic climax, Aditya possesses Meera to kick some villain butt in a wild, Bollywood-style action sequence full of slow-motion punches and sassy one-liners.

The Ending: Meera finally overcomes her fears, gets together with Rohit, and helps Aditya solve the mystery of his death. They buy the house, giving Aditya eternal peace—or so they think. Turns out, Aditya’s ghost decides to stick around as the world’s sassiest ghost uncle to their future kid. Cue scenes of him babysitting the toddler, floating toys around, and grumbling about diaper duty.

Signature Moments:

A ghostly dance-off where Aditya hilariously tries to teach Meera Bollywood moves to impress Rohit.

A recurring joke about Meera mistaking ghostly paranormal activities for her ADHD quirks.

Why it’ll be a hit: This movie blends classic Bollywood comedy, heartfelt sibling drama, and supernatural chaos, offering a unique twist on ghost stories. With a hot ghost hero, relatable mental health themes, and a hilarious "ghost uncle" epilogue, it has something for everyone!

[theomenmedia]

What To Expect From The Trailer For Prabhas' Upcoming Film "The RajaSaab"?

Dive into the supernatural with Prabhas! "The RajaSaab" trailer drops tomorrow. Are you ready for a ghostly comedy ride?

Read the full story here: https://www.theomenmedia.com/post/unlocking-the-mystery-what-to-expect-from-the-rajasaab-trailer-tomorrow

[voidsteffy]

Hey, could you rank every SSR movie from Absolutely Goated to Still good but worth watch again, and please provide reasons as to why you've ranked them as they are please? Pretty please 🥺👉👈

Ooo, what a task (I'm going to get beat up I'm afraid!)

but here goes, putting my life at risk: SS Rajamouli's movies (not in chronological order) with my ranking

Absolutely GOAT

Eega - Before he was Shyam Singha Roy in the body of Vasu, Nani was Nani in the body of a housefly and I find cinematic poetry in that. + The graphics, the music, the exaggerated comedy... Sudeep knows exactly what he's doing with his lines

Magadheera - (he really has it out for reincarnation stories doesn't he?) Charan's first real role (I hate Chirutha) The grandeur of the sets, the background here and there... Also the mass CGI with the gladiator audience was the new hot toy that SSR introduced. Anaganaganaga crawled so Ettara Jenda could run. (You know i'm right)

RRR - Just for Bheem's intro, it deserves an oscar. I'm one of the people who think Naatu Naatu was good, but not THAT good as they made it out to be. Also, RRR gave me the first himbo couple I could ship openly. My grandma agrees because the only dispute she had with RRR is that Ram had to pee and poop in that cell. No disagreement against RamBheem being the Tollywood IT couple

Chatrapathi - it gave teluguvallu fantastic inside jokes like: a. Tala tintada mondema? (will the shark eat his head or body first?) b. Suridu? YADUNDAVAYYA? SURIDUUU (Suridu, kaha ho? Suridooo) c. OKA ADDUGUUUU☝🏽👣 (one step, I want one step) d. Violin champakura babu (chatrapathi and simhadri kill our brain cells with the violin music in the climax emo moments, i always want to pull my hair out) - but also, Chatrapathi had a good bgs, worked fantastically for hero-uplifting moments like the interval and okka adugu scene

Bahubali: The Beginning - Only and only for the interval scene and the architecture of Mahishmati. TOP TIER. The loopholes and characterization of Avantika could have been way better. Pacha Bottesina was totally unnecessary

Good, Can Watch Again

6. Vikramarkudu - Chintata chita chita chintata TA! (teluguvallu can translate this into literally anything) 7. Yamadonga - just for the RAMBA, OORVASI, MENAKA moment I take away 5 points from the 10 points it earned. Tarak and Priyamani was a pairing I didn't know I needed 8. Maryada Ramanna - Sunil anna I love you anna but this wasn't your movie. This is the cycle's story, and that one song in the train. the screenplay is a cart wheel without the cart. It's funny in some places but Brahmaji dies FOR NO REASON. JUSTICE FOR BRAHMAJI 9. Simhadri - I didn't really feel for the characters. BUT. BUT BUT. I have to say this because it's been stewing in me for so long: Simhadri's interval scene ran so Bahubali 1's ending twist could fly. I said what I said y'all know it's the same vibe we all catching.

Eh, One Time Watch

10. Sye - it doesn't seem like an SSR movie, but it's not that good. Young Adult revenges were in trend when this was made and it fit well with its counterparts. Sometimes I even forget that Genelia and Nithiin did indeed work with Rajamouli 11. Student No. 1 - not that special, honestly early-career Tarak's movies just blend in my head: SN1, Aadhi, Samba... but hey at least SN1 started a long lasting kinship 12. Bahubali: The Conclusion - THAT IS NOT SIVAGAMI! HOW DARE YOU! this is beyond ooc, it's not a character at all. At one point I thought they'd bring out a tantrik doing black magic to change Sivagami... And Devasena is not the best written character in SSR's filmography. This movie makes me want to scratch my eyeballs out. If only my mom had the audacity and hardheadedness to talk to grandma like this. Also... Avantika's leader, who is killed by Bhalla in the seige, IS DEVASENA'S BROTHER. and she just LOOKS as he's getting the life choked out of him? oo don't make me start about this movie I can rant for a loooong time

and so.... *flaps hands* that was it ig? thanks for the ask babu!

[dweemeister]

Devi (1960, India)

One year following his stunning Apur Sansar (The World of Apu) (1959), director Satyajit Ray reunited actors Sharmila Tagore and Soumitra Chatterjee. By this point, Ray was no longer the studious yet inexperienced hand that shepherded the Apu trilogy to its conclusion. But his lead actors were still only starring in their second-ever film. Bengali cinema (Tollywood, based in West Bengal) had a proud history before Ray’s Apu trilogy (1955-1959), but now had caught the attention of audiences beyond India – disproportionately so, as Bollywood (Hindi cinema, based in Mumbai) has always been the largest part of the nation’s film industry. Unlike some of the most popular Tollywood and Bollywood films of the time (and now), Ray never showed interest in romantic-musical escapism and instead dared to make films challenging India’s caste system, sexism, and religious fanaticism.

In his first work addressing religious fanaticism (and arguably his first truly political film) comes Devi, also known by its English-language title as The Goddess. Unlike 1965’s Mahapurush (The Holy Man), which also covers the same topic, Devi is thoroughly a drama, with no hint of comedy or satire. The film’s somber tone did not sit well with general Indian audiences used to lighter fare, and its willingness to criticize the extremes of Hindu religiosity saw the film’s harshest critics deem it (and Ray) as anti-Hindu. If released today, Devi almost certainly would receive a similar, if not more intense, backlash from groups and individuals in India criticizing it out of bad faith.

Somewhere in a rural town in nineteenth century Bengal, younger brother Umaprasad (Soumitra Chatterjee) is ready to depart for Kolkata for university and to study English. Umaprasad’s family is wealthy, with numerous servants tending to their multistory mansion. All is well in their richly-furnished, well-kempt home as he leaves his teenage* wife Dayamayee‡ (Sharmila Tagore) to take of his aging father/her father-in-law Kalikinkar Choudhuri (Chhabi Biswas). One night, Kalinikar awakens from a marvelous dream. An adherent of the goddess Kali, his visions lead him to believe that his daughter-in-law is Kali’s physical incarnation. Upon awakening, he rushes to Dayamayee and falls to his feet in worship. Dayamayee’s life as Umaprasad’s wife has ended. Against her will, she becomes an object of religious devotion as word spreads of Kalikinkar’s dream and a supposed miracle shortly thereafter.

Devi also stars Purnendu Mukherjee as Umaprasad’s brother, Taraprasad; Karuna Banerjee as Harasundari, Taraprasad’s wife; and Arpan Chowdhury as Taraprasad and Harasundari’s son (Dayamayee’s nephew).

Where a year prior Apur Sansar was Soumitra Chatterjee’s movie, Devi is likewise Sharmila Tagore’s. Tagore, sixteen years old upon the film’s release year, again finds herself in a role with little dialogue, even less than her supporting role in Apur Sansar. The moment Tagore’s Dayamayee becomes a devotional figure, her dialogue and ability to exert her own agency disappears. Until Umaprasad returns home shortly after the halfway mark, so much of Tagore’s performance before and after seems spliced from a great silent film. Perched on a small block, a pedestal if you will, she almost never looks at the camera or those intoning “Mā” (“Mother” in Bengali; Kali is the avatar of Durga, and both are forms of the Mother Goddess, Devi) as men and women pray and prostrate themselves in front of her. At times, Dayamayee’s mental and physical exhaustion is clear, even if she is looking sideways or into the ground, as she sits in place for several hours at a time. Is there any one there to make sure that this “goddess” is properly being taken care of? It seems doubtful.

It is unclear how long it takes for word to reach Umaprasad in order for him to return home to see the daily scenes at his family’s residence. Even for less than a day, this whole situation is intolerable to Dayamayee. Her resignation is evident in her slightly hunched back, unable to find a psychological or physical escape. The scene where Umaprasad returns home to see Dayamayee venerated as a goddess contains striking facial acting from both Tagore and Chatterjee. In Chatterjee, we see Umaprasad comprehending the situation in real time, as his horror renders him almost speechless. In Tagore, Dayamayee looks up, and in a figment of hope, there is utter heartbreak. These long days of adoration and miracle-seeking pilgrims have even shaken her sense of reality, as almost all vestiges of her past life wither away. In a rare private moment with Umaprasad, she questions her very being: “But what if I am a goddess?”

Satyajit Ray, who also wrote this screenplay based on the 1899 Bengali short story of the same name by Prabhat Kumar Mukhopadhyay, was part of the Brahmo Samaj movement, which advocates for a monotheistic interpretation of Hinduism. Brahmos, crucially, reject the caste system and avatars/incarnations of gods and goddesses. Ray’s adherence to the reforms of Brahmo Samaj color his filmography more obviously as his career progresses (I have not seen too much of Ray’s work, but I have not yet encountered a film of his that inelegantly portrayed his beliefs). Ray’s reformist and Western-leaning stances are embodied by Chatterjee’s Umaprasad, who we see clash with his more traditional father over social mores (the latter is distrustful of his son’s education, and derides his son for supposedly espousing Christian beliefs). Except for the scenes of a religious procession immediately after the opening credits, at no point does Ray imbue any of the religious images with any sense of glory, wonder, or veneration. Cinematographer Subrata Mitra (the Apu trilogy, 1966’s Nayak) dispenses of any ethereal lighting until the closing seconds, and his medium to close shots capture the uncomfortable anguish on both sides – Dayamayee’s alternating ambivalence and despair, the worshippers’ desire for comfort, deliverance, and the miraculous.

Like in several of Ray’s films including Mahapurush and Ganashatru (An Enemy of the People) (1989), Devi rejects dogmatism, miracles, superstitions, and anything that cannot have a rational or scientific explanation. Simultaneously, Ray realizes that most Indians, in the face of events profound and improbable, find science and rationality cold, confusing, and unsatisfying. Faith endows meaning to such moments. Faith ascribes purpose to happiness and suffering – something rationalism cannot provide. The unsuitability of both to provide a solution in Devi is the film’s secondary tragedy, as belief systems confront a scenario where a middle ground is impossible.

Devi’s principal tragedy is the religious objectification of Dayamayee. Of all of Ray’s female protagonists from Pather Panchali (1955) to this point, none of them are as constrained as Tagore’s Dayamayee. She may not live in poverty like Apu’s sister and mother in the Apu trilogy, nor is she the wife of an indulgent husband (1958’s Jalsāghar or The Music Room). And though she is not bound by shackles or subject to physical or sexual abuse, Dayamayee is nevertheless a victim of the unpredictable whims of men (and it is almost entirely men who worship her). Her portrayal is nuanced: she does not succumb entirely to self-pity, nor does she possess the strength to tell her father-in-law and his fellow worshippers to halt their devotional displays. She is aware of the communal damage she will cause if she so much renounces her unwanted divinity. At the same time, she cannot help but yearn for freedom, for others to speak to her like a human again – complete with aspirations, desires, and fears that no one can associate with a god.

Too often in cinema – wherever and whenever it hails from, including midcentury India – women play simplistic roles: the lover, the damsel in distress, the spurned wife. Where numerous filmmakers and actresses in the Hollywood Studio System were actively working to dismantle this element of patriarchy, I do not detect a similar level of rebellion in mainstream Indian cinema in the 1950s and 1960s (and, to some extent, this remains true). Ray did not stand alone in attempting to endow female characters with complexity (within and outside Bengali cinema), but his contributions to this development within the context of midcentury Indian cinema are crucial. Many of his films attempt a cinematic dialogue that critiqued patriarchal abuses with subtlety and bluntness – often to the chagrin of the public and government officials. The public outrage following Devi’s initial domestic release saw the film banned from seeking international distribution. Prime Minister Jawaharlal Nehru intervened and reversed that decision.

Nevertheless, consider some of the works in Ray’s first decade as a filmmaker: The Apu trilogy, Devi, Teen Kanya (1961), The Big City (1963), and Charulata (1964). Together, all seven of those films reveal a filmmaker willing to take mainstream Indian filmmaking to task for regressive and simplistic portrayals of women, whether in lead or supporting roles. Devi might be the most shattering of that collection, caught between human weakness and the unknowability of the divine.

My rating: 8.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* There were no child marriage laws in India in the nineteenth century, when this film is set. Child marriage remains prevalent in India, despite loophole-filled laws and a lack of enforcement.

‡ Multiple spellings of the protagonist's name are out there from reputable sources. I am using either the most or second-most common spelling here.

[poumpatate]

Hi! 👋 You have nice taste in movies. I saw a handful of Bollywood films on your blog, could you recommend some of your favorites?

Oh my, hi, thank you??

Of course! Disclaimer : I just started getting into Indian cinema this year and I still have a lot to learn and discover.

My first Bollywood movie was Devdas (2002, dir Sanjay Leela Bhansali) with Shah Rukh Khan (remember that name if you're interested in Indian cinema, he's like THE biggest star of the country). It's a period romantic drama film and I basically cried non stop for two hours. The colours! The songs! Aaaaaaaaaaaaah

Then, like a lot of people last year, RRR (2022, dir S. S. Rajamouli). That's technically Tollywood (still Indian cinema, just different region and language). Epic period action drama film. It's.... so good? Like no joke my life changed after watching that movie. It's got action, it's got love, it's got incredible music (my top Spotify last year was just the songs of this movie), it's got everything.

Tbh you can watch all of Rajamouli's movies, I think you're safe with them. Baahubali Part 1 and 2 are amazing, Magadheera maybe aged a little bit (very 2000s, painfully 2000s) but is still great. I haven't watched Eega yet but really can't wait, the plot is too weird, I have to.

For something more modern, I absolutly loved Rocky Aur Rani Kii Prem Kahaani (2023, dir Karan Johar). Back to Bollywood, it's a romantic comedy family drama. From what I understood, the plot is very basic for an Indian movie, forbidden love, evil grandma, respect of traditions etc etc but as I said, I'm new to all of this, and it was amazing. So, so funny. If you like himbos you'll love the main guy, he's perfect. He says stuff like "Gucci and Prada made love and gave birth to me" or "she's a super woman Wonder Woman Wakanda forever", I love him.

I hope you'll like these! Thank you again for asking I could talk about these movies for days <3

[desicinema2]

Why DesiCinema Continues to Captivate Audiences Worldwide

Introduction:

DesiCinema, encompassing films from Bollywood, Tollywood, Kollywood, and other regional industries, has always been a fascinating blend of tradition, emotion, and innovation. While its reach began within the Indian subcontinent, Desi films have been increasingly captivating global audiences. In this blog, we explore the core reasons why DesiCinema continues to have such a powerful cultural impact around the world.

1. Emotional Storytelling:

The Heart of DesiCinema At the heart of desicinema is its ability to connect emotionally with audiences. Whether it’s the intense drama of Bollywood blockbusters or the nuanced storytelling of regional films, DesiCinema captures universal themes of love, family, sacrifice, and identity. Movies like Kabhi Khushi Kabhie Gham and Vikram Vedha resonate with audiences from all walks of life due to their focus on human emotions and complex relationships.

2. Colorful Visuals and Music

One of the most defining aspects of DesiCinema is its use of music and visuals. From vibrant song sequences to intricately choreographed dance numbers, the energy and color in Desi films are irresistible. Music is not just a backdrop; it’s an integral part of storytelling. The songs in movies like Dil Se and 3 Idiots are as memorable as the films themselves, evoking a wide range of emotions and leaving a lasting impact.

3. Cultural Richness and Diversity

DesiCinema offers a rich tapestry of cultures, languages, and traditions. Whether you're watching a Bollywood film set in the bustling streets of Mumbai or a Tamil film set in rural India, each movie provides a unique insight into Indian culture. The diversity of DesiCinema means that there is something for everyone—be it historical epics, family dramas, romantic comedies, or action-packed thrillers. This cultural variety draws in global viewers who are curious about different ways of life.

4. Representation and Relatability

Indian cinema has an undeniable focus on family values and societal norms. This relatability is one reason DesiCinema continues to attract audiences worldwide. Many Desi films explore themes of immigration, the search for identity, and the complexities of relationships, which resonate with people from various backgrounds. Additionally, the rise of diverse actors and filmmakers within the DesiCinema landscape is helping to break stereotypes and foster a more inclusive global film industry.

5. Strong Performances and Charismatic Stars

The iconic stars of DesiCinema are more than just entertainers; they have become cultural symbols. Whether it's Shah Rukh Khan's romantic charm or Priyanka Chopra's versatile acting, the global appeal of these stars has contributed significantly to the worldwide popularity of desicinemas. They have captured the hearts of millions, becoming familiar faces even outside of the Indian subcontinent.

6. The Power of Streaming Platforms

In recent years, streaming services like Netflix, Amazon Prime, and Disney+ Hotstar have played a major role in bringing DesiCinema to international audiences. These platforms allow viewers to explore films from various regions and languages, offering a more accessible way for non-Indian audiences to experience the richness of Indian cinema. With the rise of regional films, these platforms have been essential in helping DesiCinema thrive globally.

Conclusion:

The Global Impact of DesiCinema DesiCinema's influence extends far beyond the Indian subcontinent, impacting global audiences and contributing to the cinematic landscape. Its unique storytelling, cultural diversity, and dynamic performances will continue to keep it at the forefront of world cinema. As technology continues to evolve and new platforms emerge, DesiCinema is poised to reach even greater heights, connecting people from all corners of the world through the power of film. .

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