Friday, 19 July 2013

Raghava Lawrence's six-face! (muni 3)

Raghava Lawrence's six-face!

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Saturday ,May 18,2013

There is some thing about Raghava Lawrence and 'Muni'. It is said the actor-choreographer-director spent nearly a year scripting for the third part of the 'Muni' series.

It is said he is keen to ensure that 'Muni 3' turns out to be a bigger blockbuster than the first two parts and has taken a lot of effort with pre-production works, which is done now and is gearing up to get it on floors.

He has signed up Tapsi and music director Anirudh for the third part apparently in a bid to tap into the hot market that the two enjoy.

Sources also say that the director has added a lot more scary thrills in this edition. Additionally, as the hero, Raghava Lawrence will supposedly be seen wearing six different get ups and he believes the commercial elements would help make the film a success.

Anirudh bags 'Muni 3'

Tuesday ,February 19,2013

Young music composer Anirudh Ravichander's stature has grown leaps and bounds in a short span of time. Ever since the 'Kolaveri' number from '3' became a rage, he hasbeen a sought-after music director.

Now, he seems to have landed Raghava Lawrence's 'Muni 3'.It is learnt that Anirudh will be scoring the music for the Tamil and Telugu versions.

He was apparently thrilled and said he had signed up for 'Muni 3' and met Lawrence andliked the story.

Also, he said he was happy to be part of the project.

'Muni 3' stars Lawrence and Tapsi Pannu in the lead roles and is expected to be similar to the two earlier parts, which had horror and intrigue interspersed withcomedy.

https://www.blogger.com/blogger.g?blogID=4473912355625570551#allposts/src=dashboard Muni 3 Gallery

Karikalan


Vikram's "Karikalan" back to the future
IndiaGlitz [Tuesday, January 22, 2013] Comments

Vikram's upcoming project was to be a historical story named "Karikalan". This movie is based on a famous Tamil King of Chozhas who ruled long ago during the Sangam ages.

Vikram was to act the part of Karikalan Chozha with Zarine Khan and Anjali sharing the screen with him. The original director was Ll Kannan who was later replaced by AR Gandhikrishna, who actually wrote the real script. This project was put on hold for the moment since Vikram got his hands full with "David" and "I". The music director of "Karikalan" is GV Prakash and following his tweet, we think that "Karikalan" will be taken up again in no time. "The historical epic ' Karikalan ' revives back from March with ChiyaanVikram." was GV Prakash's recent tweet.

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Vikram (actor) profile

Vikram (actor)

Vikram
Vikram during the premiere of Raavan in London(2010)
Born	Vikram Kennedy Vinod Raj 17 April 1966 (age 47) Paramakudi, Tamil Nadu, India
Occupation	Film actor, Film producer, Playback singer
Years active	1990–present
Spouse(s)	Shailaja Balakrishnan
Awards	National Best Actor (2003) State Best Actor (1999, 2003)

Vikram (born as Vikram Kennedy on 17 April 1966) is an Indian film actor who predominantly appears in Tamil language films. During his years in the Indian film industry, he has won six Filmfare Awards South as well as one National Film Award and Tamil Nadu State Film Award amongst other recognitions and was awarded an Honorary Doctorate byPeople's University of Milan in May 2011.

He made his debut in the 1990 film En Kadhal Kanmani, which was followed by a series of small-budget Tamil, Malayalam and Telugu films in the 1990s, many of which went unnoticed. However the success of Bala's tragedy film Sethu (1999), in which Vikram appeared as a rogue turned lover, started Vikram's successful career as an actor. In the early 2000s, Vikram appeared in a series of masala films, with Dhill (2001), Gemini (2002),Dhool (2003) and Saamy (2003) becoming commercially successful ventures. During the period, Vikram also appeared in diverse roles and received critical acclaim for his performance as a blind villager in Kasi and a Robin Hood-esque figure in Samurai. In 2003, Vikram's performance as a gravedigger with autism spectrum disorders in Bala'sPithamagan saw him win the National Film Award for Best Actor, with his character only speaking a couple of lines of dialogue in the entire film.^[1] His appearance as an innocentBrahmin with multiple personality disorder in Shankar's blockbuster Anniyan (2005) also won critical acclaim, as did his appearance as a superhero in Kanthaswamy (2009). Vikram's portrayal of Veeraiya, a tribal leader inspired by the Ramayana character Ravana, in Mani Ratnam's Raavanan saw him secure further accolades; while his appearance as a mentally challenged adult with the maturity of a six-year-old boy in Deiva Thirumagal(2011).

Vikram has promoted various social causes and appeared as the Youth Envoy for theUnited Nations Human Settlements Programme in 2011. He has been a brand ambassador of Sanjeevani Trust and a school for special children, Vidya Sudha, which he stayed at during the making of Deiva Thirumagal as well as having long-term associations with the Kasi Eye Care and running his own welfare association through the Vikram.
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Monday, 17 June 2013

Man of steel is Man of God

'MAN OF STEEL' IS MAN OF GOD

Text smaller
Text bigIn “Man of Steel,” young Clark Kent must train his senses, lest his super-hearing and X-ray vision all fire at once, leaving him overwhelmed by the overload.

Likewise, after years of reviewing films from a worldview perspective, I have trained my “senses” to look for biblical parallels and Christological metaphors in movies.

But training or not, my senses were in danger of being overwhelmed by the deluge of Messianic images and messages in “Man of Steel,” the fantastic new Superman movie now in theaters. The film is practically – and I believe intentionally – the story of Jesus in red boots and cape.

Now … I’ve heard plenty of negative reviewers gripe that this movie is all action, that it’s soulless, that it isn’t very good.

Horsepucky.

“Man of Steel” is the best Superman movie made to date and stands right up there with the best Ironman or Spider-Man has to offer (but not quite Batman: I mean, c’mon; “The Dark Knight” is on another level altogether).

Actor Henry Cavill brings a perfectly understated yet layered performance to the role of Clark Kent (a.k.a. Superman), playing a very hunky version of the character who is believably humble as the grown-up Kansas farm boy, childlike in the discovery of his ability to fly, powerful in his feats of heroism and raging in his battles against the villain. There are several scenes where Cavill is asked to calm those who are afraid of his character without any words, merely in the earnest, altruistic warmth of his eyes … and Cavill actually pulls it off.

And while it’s true the supporting cast is left woefully underdeveloped, this isn’t a story about Lois Lane or General Zod. It’s a story about Clark Kent. It’s the story of his struggle to fulfill his purpose in life, namely to be am incarnate mediator between his Father’s world and Earth and to offer himself up to save a world that would reject him for trying (hmm … sound familiar?).

Yet despite his extraterrestrial father’s plan, Clark is haunted by an earthly father who warned him he would be despised by men if his powers were known. The film’s several flashbacks reveal pivotal moments where these lessons were hammered home in young Kent, scenes that give depth to the character that help sustain the film’s final act, which, admittedly, does carry on the action for a bit too long.

What further sustains the film are the dozens of parallels between Kent and Christ, between his father and The Father, between Zod and Satan and more. Audiences who miss these metaphors will understandably think less of the film than I do, but audiences that understand the parallels will revel in the feast.

For example, the script is filled with clues to the Messianic nature of Superman, such as, “He will be a god to them [the people of Earth],” and, “You have another father who gave you another name. He sent you here for a reason,” and his father’s words, “You can save all of them,” words spoken right before Superman leaves the spaceship in a crucifix-like, arms extended pose.

Other parallels appear in the film’s villains, who think of humans as Satan does, muttering to the Christ-figure, “For every human you save, we will kill a million more,” and, “I’m going to make them suffer. I will take them all from you,” and, “If you love these people so much, you can mourn for them.”

Still other metaphors come as messages that run all the deeper when you think of Superman as a Christ-figure, such as his statement, “You’re scared of me because you can’t control me,” or his statement, “I’m here to help, but it has to be on my own terms.”

I suppose the Messianic metaphors should be expected, as Superman was created in the 1930s as a sort of Moses figure by writer Jerry Siegel and artist Joe Shuster, two Jewish-American children of European refugees. Superman’s arrival as a baby in a “basket” from Krypton or his father’s Hebrew name should be clues to those origins.

But biblically, Moses was a type, a shadow of the Savior to come, fulfilled in Jesus Christ. Similarly, “Man of Steel” goes beyond Jewish metaphors to a clearly Christian character, the movie even making sure you know he dons the boots and cape at the age of 33 (the age traditionally associated with Jesus’ ministry).

Sometimes the film even makes it too obvious. Clark Kent’s “Garden of Gethsemane” moment is actually filmed in a church, in front of a stained glass window, where over Kent’s shoulder is seen – what else? – Jesus praying in the Garden of Gethsemane. Perhaps that kind of blunt imagery is needed for our biblically illiterate culture, but Christian audiences should be able to spot dozens of other ways the film draws a picture of Christ.

In “Man of Steel” the filmmakers have opened a wide avenue for thought on both the spiritual and the incarnated Christ’s human battle for the salvation of mankind, for discussions on humanity’s reaction to God and for evangelistic opportunities to explain the life and gospel of Christ in whole new ways. Whenever you make a character a clear Christ-figure, whether it’s Luke Skywalker in “Star Wars,” Aslan in “Chronicles of Narnia” or Clark Kent in “Man of Steel,” it means the film has moved beyond being “just a movie,” just entertainment, to a purposeful statement on what is true that must be pondered and evaluated by discerning audiences.

Many reviewers, as I’ve stated, probably missed this entire subtext or reject it as they reject Christ himself. Without these layers, the criticisms that the film is too “shallow” or too action-heavy make sense.

But with them, the film is fascinating. It’s entertaining. And it speaks of God, loudly. Though I won’t claim it was written by an author the caliber of C.S. Lewis, nonetheless, the metaphors and messages make “Man of Steel” a sort of “Chronicles of Narnia” for an “Avengers” generation.