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“It’s like being part of a celebration like Thrissur Pooram,” says actor-producer Dileep on the making of the film ‘Twenty Twenty,’ which will have almost every actor in Mollywood acting in the film. The shoot of the film, directed by Joshiy, is nearing completion and is scheduled for a June-end release.
Fund raiser

Innocent, president of Association of Malayalam Movie Artistes (AMMA), explains that the initiative was launched to raise funds for the organisation. “Although arranging stage shows would have been an easier option, the majority was in favour of a film. We decided to give the responsibility of producing the film to some one who would give the association a fixed amount. Dileep came forward and the project was on,” he says.

However, Innocent points out that creating a story that would give the same importance to all the main heroes was never on the agenda.

“A good story was developed and the members are wholeheartedly supporting the film,” he adds. Echoing Innocent’s sentiments, Dileep says that the decision to make a film involving as many members of AMMA as possible was taken three years back and the shoot started last December.

“It’s a big budget movie and regardless of the fate of the movie at the box office, AMMA will be paid Rs. One crore. I don’t think there has been such an attempt ever in the history of cinema anywhere,” he says.

Director Joshiy agrees that the film is being made on a big canvas. “But for me, it’s the characters that matter more than the star status of those who are performing in the film, as I have worked with most of the actors. It was quite a task to choose a suitable subject. Once that was decided, things started happening more easily and quickly. Since the project involves a lot of actors, it is often difficult to arrange the schedules,” he says.

While Joshiy is a veteran director of many multi-star casts, scenarists Siby K. Thomas and Udayakrishnan find it hard to believe they are part of a team that is going to be a milestone in the history of Malayalam cinema.
“We believe that it’s the closest to winning the Oscar,” gush the scenarists.

“It is history in the making and perhaps the only attempt of its kind. We became conscious of the challenge we had accepted only when we actually started thinking about a possible subject involving all the big names in the Malayalam film industry. We are aware that everything will be put under the scanner – the characters, their place in the storyline and the punch lines in the dialogues.

“So, we decided to opt for a story that would do justice to the actors. At the same time, it is has a gripping and entertaining plot,” say the duo who refuse to divulge anything further.
“The suspense is reserved for the screen,” they chorus.
Mood of celebration

Although the film has no connection with cricket, the title ‘Twenty Twenty,’ like the shorter and exciting version of the game, signifies the pace with which things happen in life. “There is a mood of celebration,” say the scenarists.

‘Twenty Twenty’ has had its own share of surprises and upsets as well, with actors like Nayantara making a comeback of sorts, after a brief hiatus, to Malayalam cinema while reigning actor Meera Jasmine found it difficult to find the required dates for the project.

“Meera was originally paired opposite Dileep and had to shoot for just under a week, but she could not give the dates for the shoot,” says Siby and Udayakrishnan. Innocent, however, refused to comment on the issue.

Quiz the director about the genre of the film and Joshiy smiles: “All I can say now is that ‘Twenty Twenty’ is being packaged to attract every section of the audience. Let them decide on its pluses and minuses once it reaches the screen.”

AMMA Production-Twenty:20, the multi-star cinema is reportedly being planned for a mega-release, in 118 centres, breaking all previous records in Mollywood.


Produced for AMMA (the Association of Malayalam Movie Artists) under the able captaincy of actor Dileep, the film has in its cast almost all prominent stars of Malayalam, and has been in the news for quite some time, for obvious reasons. Shooting for the film is scheduled to be over by mid-May, and it is heard that the makers plan to release it by the first week of June.

Meanwhile, a discussion between the exhibitor's association and the Kerala government has resulted in the decision of getting the film released in 118 centres. Twenty-Twenty, which could very well be called the 'mother of all multi-starrers' is being directed by Joshi and features script by Sibi K. Thomas and Udayakrishna. Dileep is in charge of the production activities. It should be remembered that Rajnikanth's Shivaji was released in 75 centres in Kerala. For a Malayalam film, 118 theatres is really a BIG thing. Stay put for more news about Twenty-Twenty and also for more news.

Dasavatharam

Posted In: . By Neo

FIlm Review:

Banner: Aascar Films

Cast: Kamal Haasan, Asin, Mallika Sherawath, Jayapradha, Rekha, K R Vijaya, Nagesh, Nepolean, Santhana Bharathi, M S Bhaskar, P Vasu, R Sundarrajan, Ramesh Khanna, Erode Sounder, Pandu
Direction: K S Ravikumar
Production: V Ravichandran
Music: Himesh Reshammiya & Devi Sri Prasad

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One striking feature that hits you in the face once you have watched ‘Dasavatharam’ is Kamal Haasan's passion for filmmaking. All the ten roles he has essayed have been meticulously planned right from the body language to dialogue delivery. Be it the American president George Bush, the Vaishnavite priest of the 12th century or Fletcher, the American baddie.

The eyes are considered the most effective tools in creating the right kind of attitude for any actor and Kamal Haasan is a master at that. There are many a time in the film when the audience would have to force themselves to believe that it is the same actor who is the good guy as well as the bad guy.

The expressive and determined eyes of the priest, the mushy and yet funny countenance of Balaram Naidu, the hilarious CBI officer and the peaceful martial artist eyes of the Japanese character have all shaped up to fit into any acting text book. Hats off to Kamal Haasan on the acting front!!

Based loosely on Chaos theory, the narration of the film promises a lot of excitement and as the story unfolds, somewhere down the line there are a few missing links that have been forcefully stitched together. Govind, the bio-scientist in the United States of America has been wronged by his boss who has intentions of selling his invention to wrong hands. The determined scientist doesn't give up. He sneaks it away and after a few accidents the invention lands in India. The hunt and race against time especially with Fletcher, the ex-CIA baddie sniffing at his neck with murderous intent culminates into Govind meeting an irrationally sentimental and at times sweet Andal (Asin). The baddie with sizzling Mallika Sherawat for company proceeds along the vulnerable Indian security system and shows up at the right places at the right time.

The narration then makes sure most of the characters played by Kamal get into close proximity in terms of geography. The stunt sequences are quite professional with its share of thrilling moments, but then there are too many coincidences consistently. The protagonist and his slowly, but surely falling-in-love lady companion seem to be jumping off just about everything. Soft landing seems to be a predictable option at most times.

When it comes to action and stunt scenes, ‘Dasavatharam’ is head and shoulders above most Indian films. The music element in the film is passable with some breathtaking re-recording bits in patches.

Cinematography has been simply awesome. The heavy compositing and trick shots have not dampened Ravi Varman's innate talent at creating the right kind of mood the film depicts.

‘Dasavatharam's’ review can never be complete without talking about the makeup part. Apart from the desired result one can guess the kind of effort and hard work Kamal Haasan would have had to go through just to get them on and that too on a daily basis. Makeup has been good overall except for a few shots that show off a kind of plastic look.

Computer Generated Imagery plays a huge role in the film. When the same actor plays seven feet plus youth and an old woman who is barely five feet, one can imagine the kind of intensive scaling and image manipulation by the CG team. Recreation of the 2004 Tsunami is impressive and the action part weaves the intensity of the story.

The direction has been apt sticking to the script in the true sense of the term. K. S. Ravikumar known for his simple style of narration has not been himself with ‘Dasavatharam’, but has shown sparks of ingenuity.

Kamal Haasan has stuck to his favorite subject of the 'no God' debate in this film too and has glorified himself probably for the first time on screen with a dialogue directed at him as being the 'Ulaga Nayagan'.

With Kamal Haasan playing ten roles, all other actors have been completely overshadowed.

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This is a movie that has highlighted a highly talented and passionate actor in his entire splendor. At the end of the film one tends to ask….has Kamal Haasan been so spectacular that he has overshadowed the script and story this time?

Magic Lamp

Posted In: . By Neo

Film Review:

Cast: Jayaram, Meena, Divya Unni, Rasika,
Direction: Haridas
Music: Ouseppachan

Jayaram seems to be in a deep turmoil where he just can't hope for a magical movie to give a fresh life to his career. His latest, to add to the list of non starters will be ‘Magic Lamp', the movie which was waiting in the cans for the last seven years. And as expected, this identical individuals' tale definitely give that depressing, silly air of the nineties. This logic-defying, light-hearted comedy (intended) movie seems to be caught in a time warp, which never ever will manage to entertain the viewers of the new millennium.

‘Magic Lamp’ also reminds us that nonsensical film like this, used to be made with unerring frequency in the early nineties, when audiences know exactly what to expect from them. The movie opens with Anupama (Meena), a rich and spoilt girl living in Bangalore, landing up on a photo of a young man, when she happens to drive by. On seeing the photo her two friends identifies the man as two different persons. Anupama who aspires to become an airhostess has just finished her interview and is waiting for her appointment letter. But her rich aristocratic family in Kerala is very much against the decision, as they consider the job below their status.

Having lost her parents at a very early stage, Anupama is take care by an aged grand father (Oduvil Unnikrishanan). Her two uncles always have an eye on her wealth, and they want their respective sons to marry her. The sons Mohana Krishnan (Baiju) a Veterinary doctor and Omana Kuttan (Kottayam Nazeer) an Ayurvedic doctor are also competing with each other for her attention. To escape from marriage she weaves stories, one after another, about her fictitious lover whom she had seen in the photo. Later with the help of Adv Lalan, another lover who is also after her, Anupama keeps unwanted marriage alliances at bay, by another cooked up story about herself as a victim who was molested by the same man at Goa! A search for 'the man' by different persons of the family leads to Sunny Kuruvila (Jayaram), a coach in a women’s College about to be betrothed to Alphonsa (Rasika), to Dr. Nandakumar (Jayaram), married to Viji (Divya Unni) and to Chandrasenan, a macho guy with the twirled up moustache from Peruvannapuram. With this alleged relation with Anupama, each of their families faces unexpected problems.Now Chandrasensn who is toughest one among the three decides to unearth the real problem maker and the reality behind the stories which brings him face to face with Anupama.

Ranjith who is credited with the story has a done to death premise of brothers at war for wealth. The screenplay and dialogues also never rise above the ordinary. And as you watch the drama unfold on the screen, there is this feeling of deja vu in almost every scene, making you remember the likes of Rajasenan’s movies of the nineties.

The first half an hour is really a torture where the director has apparently forgot what quality comedy is all about and made a crass concoction abundantly supplied with plenty of uncomplimentary hints, double entendres and songs. Jayaram tries hard to give a different look and pattern of accents to each of the characters, while Jagathy runs all through the movie, enters every scene with his characteristic demeanor, as he used to be in the films of the nineties.Meena as Anupama is in his usual self, while Rasika and Divya Unni make eye candy appearances in a few scenes.

In delivering a below-par product, director Haridas appears confused throughout, dealing with the different characterizations of mismatched identities, all played of Jayaram. He also has also failed to extract the best out of his technicians. Music by Ouseppachan is average while more atrocious is its BG scores by S SP Venkatesh. The camera work by Vipin Mohan never rises above the pedestrian and the costumes and sets are tasteless and outdated.