vedham puthithu ( tamil : வேதம் புதிது english : new vedha ) ( 1987 ) , starring sathyaraj and amala is a critically acclaimed tamil movie , written by k.kannan , who after this movie came to be vedham puthithu kannan and directed by bharathiraja .

the film 's narrative was seamless and starred sathyaraj as balu thevar .

it contains some of bharathiraja 's trademark directorial touches as well as a lot of path breaking scenes , along with kannan 's powerful dialogues .

this was considered the last film mgr watched , before his death .

vedham pudhithu

vedham pudhithu songs lyrics with videos : listen to the songs starring amala , charuhasan , janagaraj , raja , saritha , sathyaraj in this tamil movie with music composed by devendran vedham pudhithu is an tamil movie - song albumwith music produced by morden cinima vedham pudhithu amala , charuhasan , janagaraj , raja , saritha , sathyaraj . lyrics of vedham pudhithu songs are penned by vairamuthu . vedham pudhithu released in 1987 there are 1 song in vedham pudhithu , songs lyrics are provided in the below list with song details .
kathal geetham karpika vaa song | amala | vedham pudhithu | s . janaki | ilaiyaraja
vedham pudhithu movie rating is 71 / 100 based on reviews submitted by 5 users .
kathal geetham karpika vaa song | amala | vedham pudhithu | s . janaki | ilaiyaraja - youtube
vedham pudhithu ( 1987 ) tamil movie cd - rip 320kbps mp3 songs music by devendran - starmusiq . com
movie name : vedham pudhithu featuring : sathyaraj , saritha , amala , raja , charuhasan , janagaraj directed by : p . bharathiraja
vedham pudhithu tam . . .
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vedham puthithu ( 1987 ) directed by p . bharathiraja • reviews , film + cast • letterboxd
watch the superhit tamil song ' mandhiram sonnen ' from the tamil movie vedham pudhithu . vedham puthithu ( tamil : வேதம் புதிது english : new vedha ) ( 1987 ) , starring sathyaraj and amala is a critically acclaimed tamil movie , written by k . kannan , who after this movie came to be vedham puthithu kannan and directed by bharathiraja . charuhasan , saritha , raja and ' nizhalgal ' ravi played supporting roles in the movie . song : mandhiram sonnen movie : vedham pudhithu music : devendran singers : mano , s . janaki lyricst : vairamuthu starring : raja , amala director : bharathiraja
the love that bonds these two humans separated not just by age but also by caste and class , is told by bharathiraja with poetic touches . vedham pudhithu dealt with the caste issue in a stronger manner .
he is known for his realistic and sensitive portrayal of village - life in his movies . he is well known for his work in 16 vayathinile , muthal mariyathai , vedham pudhithu , karuththamma , kizhakku cheemayile and anthimanthaarai .
vedham pudhithu is a 1987 tamil drama film , directed by bharathiraja and produced by janani art creations . this film stars sathyaraj , saritha , amala , raja , charuhasan , janagaraj in the lead role . the films soundtrack and background score were composed by devendran with lyrics by vairamuthu .
vedham pudhithu ( tamil : வேதம் புதிது english : new vedha ) ( 1987 ) , starring sathyaraj and amala is a critically acclaimed tamil movie , directed by bharathiraja . charuhasan , saritha , raja and ' nizhalgal ' ravi played supporting roles in the movie . the story and dialogue was written by kannan .
he is well known for his work in 16 vayathinile , muthal mariyathai , vedham pudhithu , karuththamma , kizhakku cheemayile and anthimanthaarai . he has won six national film awards , two tamil nadu state film awards and is also a recipient of other awards such as filmfare awards south , cinema express awards and nandi awards . film career [ edit ]
vedham pudhithu dealt with the caste issue in a stronger manner . [ 9 ] the film ' s narrative was seamless and starred sathyaraj as balu thevar . it contains some of bharathiraja ' s trademark touches as well as several ground - breaking scenes . however , it does follow the anti - brahmin trend common in tamil films – in this respect it departed from his earlier success , alaigal oiyvadhillai , where the caste and religion factor was given a more balanced treatment . bharathiraja has successfully managed to modernize his film making techniques for the 1990s . the commercial success of kizhakku cheemaiyile and the awards karuththamma garnered stand as testimony for his ability to thrill the younger generation as well . bharathiraja was on the same stage in 1996 to receive another national award for anthimanthaarai .
plot of vedham pudhithu balu thevar ( sathyaraj ) and saritha live in a village and belong to a land - owning warrior caste ( thevar ) , held lower in the vedic caste system hierarchy than brahmins . balu thevar though , is an atheist and speaks openly against the caste system , but is nevertheless tolerated by the villagers because he is generous in helping others in need . their son , raja , has just returned from the city having completed his education . he meets amala , who is the daughter of a brahmin sastri ( priest ) , and they fall in love . both of their parents discover their love and amalas father tries to marry her off to another man in a neighboring village . on the way , amala fakes her suicide to escape the marriage , and hides in a house ( nizhalgal ravis ) that she happens to pass by . in the meantime , thinking that amala is really dead , amalas father confronts raja and accuses him of causing her death . during the discussion , they slip and fall into the waterfall and both men die .
karuthamma full movie hd bharathiraja a . r . rahaman பாரதிராஜாவின் விருதுகள் பல குவித்த கருத்தம்மா
superhit family entertainer - ponnu veetukkaran - tamil full movie | sathyaraj | p . vasu | goundamani
tamil comedy movie | idhu namma aalu | full movie | ft . bhagyaraj , shobana
manathil uruthi vendum | full tamil movie | suhasini , shridhar | k . balachander
natham en jeevane | kadhal oviyam | s . janaki | ilaiyaraaja | நாதம் என் ஜீவனே
tamil full movie | ramachandra | action movie | ft . sathyaraj , vijayalakshmi , ashish vidyarthi
singer ( s ) : s . p . balasubrahmanyam , k . s . chithra , chorus
singer ( s ) : s . p . balasubrahmanyam , s . janaki , chorus
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rules are broken in the traditional village society where an upper - caste orphaned boy is brought up by the village chieftain .
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i watched this movie as an eleven - year old . needless to say , it did not make much sense then , and , as one reviewer has pointed out , it was all ' about amala . ' she had a magical effect on viewers , both male and female . but then , as i got older and watched this again , it all began to change . in south india , reception to this movie is either a yes or no proposition . there are those who love it to distraction and there are those who hate it like the plague itself . i like it . the film has moments where the poetic beauty is incredible . in one fell sweep , bharatiraja raised tamil movie to international standards . yes , there are other excellent movies like this , ones with strong social message , but this one was long overdue by 1987 . the director was bold enough to do it ( he is a well known socialist , and so is ilaiyaraja ) . so it should come as no surprise that the other reviewer definitely doesn ' t like this movie , and i like it . perhaps it all has to do with the caste mentality of india . ( i myself do not claim immunity to this very common indian malady . ) it is a great film and it will continue to be popular .
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director / producer : p . bharathiraja ( director ) , s . rangarajan ( producer )
at this point , amalas younger brother ( named sankara – a play on adi sankaracarya , the founder of the monistic system of hindu vedic philosophy called advaita vedanta ) , who is devoutly studying the vedas and passing through the student phase of his brahmin life , is left an orphan . being considered inauspicious , since his mother , father , and sister are all dead , no one from the brahmin community wants to take care of him . he thus wanders the streets begging for food . balu thevar is bothered by this , and having lost his own son , he takes him home to raise him as his own son . they give up eating meat , so as not to offend the boy . however , since the boy has been eating in a lower caste home , he is rejected by his community from learning the vedas . sarita ( the wife ) is enraged , and promises to educate the boy instead in an english medium school . balu thevar makes fun of the boy telling him that it is not important to learn vedas and worry about caste . at this point , the boy points out balu thevars hypocrisy , at his preference for using his caste name ( thevar ) , while at the same time professing against the caste system . sathyaraj sees the merit in this argument , and immediately after this abandons all his weapons ( symbols of his warrior thevar caste ) by immersing them in a river , and stops referring to himself by his caste name , going only by “balu” .
amala , not knowing of raja and her own fathers death , tells nizhalgal ravi about her love , after which he promises to reunite them . theres a beautiful and sad song here where she imagines her happy future . nizhalgal ravi comes to the village and finds out what has happened and informs amala . amala then sadly returns to her village , and informs saritha ( the wife ) to take care of her younger brother for the rest of his life and prepares to leave .
meanwhile , janakaraj , a brahmin who had wanted to marry amala , but was rebuked publicly by her , sees amala return . he riles up the villagers with news of amalas return and states that its extremely inauspicious for the village , since her last death rites have already been performed . he also states that it is not proper for brahmins to live in a non - brahmin house . he then sets some hay on fire and tells the villages its the gods disapproval of these two crimes . he assembles a parade of villagers towards balu ( sathyaraj ) s house with weapons , and they demand that balu kick out amala from his home . balu refuses , a fight breaks out , and in the ensuing scuffle , he is stabbed and dies . his final request is for the villagers to live in unity , and not let caste divide them . in the poignant and controversial closing scene , sankara the young boy , who has now lost two fathers , is seen alone in the twilight hour of the holy sandhya ritual , removing his brahminical sacred thread ( invested only upon the upper castes ) and immersing it in a nearby stream , disgusted with , and in open defiance of the hypocrisies of strict brahminical casteist beliefs , while performing the last funeral rites of balu thevar as though he were his own son .
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this is one of the few films that highlights some of the issues caused by the caste system . the film ' s narrative was seamless and starred sathyaraj as balu thevar . it contains some of bharathiraja ' s trademark directorial touches as well as a lot of path breaking scenes , along with kannan ' s powerful dialogues .
a young upper - caste boy , orphaned after his father ' s death , exposes the hypocrisy of the caste system .
kamalhaasan best | k . balachander | unnal mudiyum thambi scenes | tamil super scenes
sathyaraj nakkal comedy | manivannan | senthil | r . sunderrajan | tamil super comedy
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brigadoon - recordings . . . source - musicals101 1947 original broadway cast recording ( incomplete , due to recording limitations of the period some lyrics were censored ) 1954 original motion . . .
director bharathiraja took this anti - caste segregation movie to a world class quality . . . must watch one . . . . . . . . .
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singer by : s . p . balasubrahmanyam , k . s . chithra , chorus
02 . mandhiram sonnen song [ download ] singer by : mano , s . janaki
03 . putham puthu olai song [ download ] singer by : k . s . chithra
05 . sandikka tudhithen song [ download ] singer by : s . p . balasubrahmanyam , s . janaki , chorus
all song lyrics listed in the site are for promotional purposes only . we do not provide songs / mp3 download as it is illegal to do so . if you like any of the songs lyrics , you can buy the cds directly from respective audio song companies . urltoken does not sell or monetize on the songs by any means . all the rights are reserved to the audio company / recording studios . urltoken holds no responsibility for any illegal usage of the content . for any queries , you can email to admin @ urltoken
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director bharathiraja portrait - pen drawing by artist anikartick , chennai , tamil nadu , india by artist anikartick , chennai ( t . subbulapuram vasu )
p . bharathiraja ( tamil : பி . பாரதிராஜா ; born 17 july 1941 ) is a south indian filmmaker who works mainly in the tamil film industry . bharathiraja displayed a story - teller ' s potential from an early age . he is known for his realistic and sensitive portrayal of village - life in his movies .
bharathiraja started his film career as an assistant to director and actor ' s p . pullaiya , malayalam filmmaker krishnan nair [ 4 ] and kannada filmmaker puttanna kanagal . [ 5 ] he also worked with krishnan nair , avinasi mani and a . jaganathan , he learned the grammar of film - making and got his first directorial opportunity in 1977 . his first film 16 vayathinile for which he wrote the script broke the then existing convention to create a new genre of village cinema . the movie is now regarded as a game - changer and a mile - stone in the modern history of tamil cinema . about the movie , said bharathirajaa in his own words ,
this movie was meant to be black and white art film produced with the help of national film development corporation
, but turned out to be a commercially successful color film and a starting point for several important careers . [ 6 ]
his next film kizhake pogum rail produced similar results and eventually brought in criticisms that bharathiraja was capable of catering only to village audiences . this led him to make sigappu rojakkal , about a psychopathic woman hater that was totally westernized in terms of both conception and production . [ 7 ] but contrary to what several observers expected , this film met with box office success and everyone agreed that bharathiraja was here to stay .
bharathiraja confirmed his versatility and refusal to be tied down to one particular genre with an experimental film nizhalgal and an action thriller tik tik tik . but , undoubtedly rural themes proved to be his forte as his biggest hits in the 1980s alaigal oivadhillai , mann vasanai and muthal mariyathai were strong love stories in a village backdrop . muthal mariyathai starred veteran actor sivaji ganesan in the lead , playing a middle - aged village head . radha is a poor young woman who moves into his village for a living . the love that bonds these two humans separated not just by age but also by caste and class , is told by bharathiraja with poetic touches . [ 8 ]
he has plans of making short films with varying themes to attract the international audience and has currently completed his latest venture kadal pookal and picked up a national award for the best screenplay writer for the same film . the well - known tamil film director bhagyaraj was one of his assistant directors . he has also directed movies in telugu , kannada and hindi .
bharathiraja was born as chinnasamy to periyamayathevar and karuthammal . he is married to chandra leelavathi and has two children manoj and janani . manoj is an actor who was introduced in tajmahal , he is married to actress nandana . [ 10 ] [ 11 ] janani is married to rajkumar nambiraja . [ 12 ] bharathiraja ' s brother - in - law manojkumar has directed films like mannukkul vairam , vandicholai chinraasu , vaanavil and guru paarvai . his relative stalin is a television actor who acted in serials like saravanan meenatchi and 7c . [ 13 ]
he attended the heroes day conference at jaffna and appreciated its heroism and valour . [ 15 ] tamil nadu congress president krishnasamy claimed he met the ltte ' s leader , prabhakaran , accused of planning the assassination of former indian prime minister rajiv gandhi and banned in india .
he organized a protest by tamil nadu artistes against the indian state of karnataka for not releasing cauvery water at neyveli . during a sun tv interview , co - film stars like sarath kumar and radhika who attended the conference accused him of using that opportunity to eulogise current tamil nadu chief minister jayalalitha and launching attacks on rajinikanth ' s ethnicity . [ 16 ] [ 17 ]
in the month of june 2013 he was intervieught severe cardiac attack to him . [ 18 ]
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it was when tamil cinema was in dire need of a powerful shot of adrenalin that the young and energetic “team bharathiraja” arrived on the scene in the 1970s , with a dash of innovation in direction , screenplay and music . it took tamil movies from the suffocating confines of paint - smelling indoor sets to a refreshingly rural environment .
“yes , i infused life [ into tamil cinema ] . my characters were not from an alien world . they were just you and me portraying life’s agonies and ecstasies , ” says bharathiraja , alias p . chinnasamy , who hails from allinagaram village in theni district , tamil nadu .
bharathiraja’s forte was the portrayal of the predicaments of simple people in idyllic , rural environments and it turned the established traditions of tamil cinema upside down . his camera was equally adept at capturing the superficial sophistication of the elite .
this versatility enriched tamil movies like never before . “with m . g . ramachandran and sivaji ganesan sharing all the tamil fans between themselves , we were left with very little space and it almost choked us . in fact , it prompted us to experiment creatively to get us noticed in the industry , ” bharathiraja says .
bharathiraja survived by striking a chord in the rural audience . for the first time in tamil cinema history , the man - behind - the - camera emerged as hero though a few others , including k . balachander , had made a name for themselves .
on the appearance of the title card in which bharathiraja addresses the audience , calling them in his booming voice “en iniya thamizh makkale” ( my sweet tamil people ) , the audience would erupt in roaring applause . “the audience had started looking for the names of directors , choreographers , cinematographers and editors in title cards , ” he says with a smile .
the success of his maiden venture 16 vayathinile made him the toast of kollywood overnight . the film was to be made in black and white by the national film development corporation . “but it backed out at the last minute without giving a reason , ” he says .
undeterred , bharathiraja went ahead with the film , shooting for the first time in natural light and in the pristine environment of mist - clad mountains and sparkling streams , taking the viewers closer to their rural roots . he did not hesitate to tackle serious social issues such as female infanticide ( karuthamma ) , casteism ( vedam puthithu ) or unemployment ( nizhalgal ) .
but nizhalgal had a few flaws too , he concedes . “i had described failure in detail instead of [ showing ] optimism . the raw tragedy that unfolded at the end was too scary . the audience had to leave the theatre disturbed as it was a painful rendition of death and decay . i should have handled it sensitively and maturely , ” he says . comparing it to veteran balachander’s varumaiyin niram sigappu , he says it was a mature treatment of a sensitive subject which conveyed a sense of optimism .
but , according to critics , it was bharathiraja’s achievements that jolted balachander and a host of other directors then to give their best . and , to the delight of tamil movie buffs , this healthy competition brought the best out of the two big “b”s—balachander and bharathiraja—at a time when hindi blockbusters had started flooding the tamil screen .
“the audience had started believing that i could handle any subject , from the exploits of a psychopath killer in sigappu rojakkal to a glossy thriller in tik , tik , tik , to a serious experimental movie such as nizhalgal , to pristine love tales in kizhake pogum rail and mann vasanai , to serious socials like puthumai penn , anthimantharai and kizhakku cheemayile , ” he says . mudhal mariyadhai , a gentle and mature love story between a village belle ( radha ) and a respectable , middle - aged village head ( sivaji ganesan ) , he says , is his magnum opus . “sivaji was a director’s delight and a phenomenon , ” he says .
but failure began stalking him in the late 1990s . his critics say his persistence with rural themes is one of the reasons . his 50th film , annakodi , is again a village - centric love story that has many similarities with 16 vayathinile , they point out . he did try to prop up his sagging fortunes by giving a few commercial hits like kodi parakkuthu with rajinikanth and bommalattam with nana patekar and arjun in the lead .
but neither failure nor success has had an impact on him . “failures cannot destroy me . i learn from them . successes prompt me to strive for perfection , ” he says . he says he has never played the caste card “explicitly in any of my ventures as a few of today’s directors do . i am a creative artist” . vedam puthithu is about an inter - caste love affair between a brahmin girl and a thevar youth while kizhake pogum rail was about a village hairdresser falling in love with a caste hindu girl . in alaigal oivathillai , a christian girl elopes with a brahmin boy .
“in all these films i have made ‘love’ the protagonist and not caste or character . i was extremely careful not to mention directly any caste or religion . ” he is of the opinion that creativity cannot be put into such narrow social confines .
the successful trio of bharathiraja , ilayaraja and vairamuthu , despite many hits to their credit , had to part ways to “survive and prove our individual mettle” . “our originality got hopelessly submerged in our collective creativity . hence , we parted ways and we have no regrets today , ” he says .
he is competing against a third generation of directors today . “their innovative ideas simply amaze me . ” digital technology is giving them an edge , he says . tamil cinema , he feels , is undergoing yet another transformation as young artists and directors make their mark . “but i am also in the field , a part of it , ” he says . “i am making the kind of films i have always wanted to . i have no regrets . ” he is already on to his next project and his journey is one that few directors have made .
across the world , big business attributes the loss of legitimacy of neoliberalism to corruption , impunity and the inability to combat crime rather than the marginalising and exclusionary effects of neoliberalism itself .
differences between the government and the sangh parivar over privatisation and corporatisation may be holding up the new education policy four years into the narendra modi government .
பாரதிராஜா ; born 17 july 1941 ) is a south indian filmmaker who works mainly in the tamil film industry .
he has won six national film awards , two tamil nadu state film awards and is also a recipient of other awards such as filmfare awards south , cinema express awards and nandi awards . bharathiraja started his film career as an assistant to director p .
jaganathan , he learned the grammar of film - making and got his first directorial opportunity in 1977 .
his first film 16 vayathinile for which he wrote the script broke the then existing convention to create a new genre of village cinema .
the movie is now regarded as a game - changer and a mile - stone in the modern history of tamil cinema .
about the movie , said bharathirajaa in his own words ,
this movie was meant to be black and white art film produced with the help of national film development corporation
, but turned out to be a commercially successful color film and a starting point for several important careers . his next film kizhakke pogum rail produced similar results and eventually brought in criticisms that bharathiraja was capable of catering only to village audiences .
this led him to make sigappu rojakkal , about a psychopathic woman hater that was totally westernized in terms of both conception and production .
but contrary to what several observers expected , this film met with box office success and everyone agreed that bharathiraja was here to stay . bharathiraja confirmed his versatility and refusal to be tied down to one particular genre with an experimental film nizhalgal and an action thriller tik tik tik .
but , undoubtedly rural themes proved to be his forte as his biggest hits in the 1980s alaigal oivadhillai , mann vasanai and muthal mariyathai were strong love stories in a village backdrop .
muthal mariyathai starred veteran actor sivaji ganesan in the lead , playing a middle - aged village head .
radha is a poor young woman who moves into his village for a living .
it contains some of bharathiraja ' s trademark touches as well as several ground - breaking scenes .
however , it does follow the anti - brahmin trend common in tamil films – in this respect it departed from his earlier success , alaigal oiyvadhillai , where the caste and religion factor was given a more balanced treatment .
the commercial success of kizhakku cheemaiyile and the awards karuththamma garnered stand as testimony for his ability to thrill the younger generation as well .
bharathiraja was on the same stage in 1996 to receive another national award for anthimanthaarai . he has plans of making short films with varying themes to attract the international audience and has currently completed his latest venture kadal pookal and picked up a national award for the best screenplay writer for the same film .
the well - known tamil film director bhagyaraj was one of his assistant directors .
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batard barathi raja , now a days u r telling and condemning rajinikanth tamil nadu must be ruled by tamils . but in this picture u praising the late cm mgr as the tajmahal of tamil nadu . don ' t u think at that time tail nadu must be rulled by tamilian .
pls when uploading beautiful movies of such . . . just a humble request . . . . . provide english subtitles so this sort of beautiful could reach the mass worldwide . . . . . . thanks
gucci & keyshia the mane event . . . all on bet ' s dime ! ! !


ammavin kaipesi ( english : mother 's cell phone ) is a tamil drama film directed and cinematographed by thangar bachchan .

ammavin kaipesi

max enterprises produly presents ' ammavin kaipesi ' tamil movie directed by thangar . .
that director thangar bachan is making ' ammavin kaipesi ' starring shanthanoo and i . .
kanakam husband gets bundle of money . . how ? - ammavin kaipesi thamizh movie scene
shanthanu bhagyaraj has transformed himself as a rural youth for his forthcoming tamil film ' ammavin kaipesi ' .
even though its heart is in the right place , too much melodrama brings tamil film ammavin kaipesi down .
iniya is currently expecting the release ' ammavin kaipesi ' , in which she will be seen opposite shanthanu bhagyaraj .
with no big names associated with it , ' ammavin kaipesi ' hits the right chords and keeps you engaged throughout .
is a tamil family movie , directed by thangar bachchan . the cast of ammavin kaipesi includes shanthanu bhagyaraj , iniya .
' ammavin kaipesi ' is an emotional story , which revolves around how a mother and son gets separated from each other .
thangar bachchan is all set to release his ‘ammavin kaipesi’ on 13th of november along with vijay’s thuppakki and simbu’s podaaa podi , on the occasion of diwali . shanthnu bhagyaraj , the hero of ammavin kaipesi is confident about the success of the film .
direcetd by thangar bachan of ' azhagi ' fame , ' ammavin kaipesi ' stars shanthnu , iniya and revathy in pivotal roles .
ammavin kaipesi tries to take us back to the last decade . but , the entertainment quotient and emotional connection with the audience are completely missing .
debutant music director rohit kulkarni has composed music and background scores for ammavin kaipesi under the production of thankar thiraikalam maxpro entertainers . thangar bahchan himself has cranked the camera besides writing the script and directing the film , ammavin kaipesi while kishore te . has handled the editing department among the crew .
ammavin kaipesi is a tamil drama film directed and cinematographed by thangar bachchan . shanthnoo bhagyaraj , iniya form the cast . director thangar bachan who gave the most memorable films like azhagi , solla marandha kadhai , pallikoodam and onbadhu roobai nottu , is coming with a new directorial and production venture ammavin kaipesi .
the actor has begun work on her next project titled , “ammavin kaipesi , ” being directed by thankar bachchan , who is known for making family entertainers .
' thupakki ' , ' poda podi ' , ' ammavin kaipesi ' and ' ajantha ' are slated to hit the screens on diwali , november 13 .
for audience who patronize , thankar’s work , ammavin kaipesi does not disappoint . for the main stream entertainment expecting populace , ak will prove to be a different experience .
download kaipesi full video in hd 1080p 720p 3gp mp3 mp4 torrent free - rollbd . com
“jus watched ammavin kai paesi . . shudnt be gabbing about my own film , but its def a treat for the ladies and families… pls do support : ) , ” said shanthnu in his twitter page . iniya is playing the lady love of shanthnu in thangar bachchan’s ammavin kaipesi .
director thankar bachan is known for his poignant tales of human relationships on celluloid and he follows the same syntax in ammavin kaipesi too which is a cinematic adaptation of his own literary work of the same name .
southern filmmaker thangar bachan , known for his artistic and emotional tamil films such as ' azhagi ' and ' thendral ' , says his upcoming movie ' ammavin kaipesi ' will shake up those who ' ve disowned their mothers .
nenjil eno indru lyrics ammavin kaipesi is a kollywood movie , music produced by rohit kulkarni . it stars iniya , shanthnoo bhagyaraj in main roles , this movie released in 2012 . the soundtrack album is composed by rohit kulkarni . produced by thangar bachan
entertainment value is minimal in ammavin kaipesi ( ak ) which appears quite lengthy at 152 minutes . close to climax , the director builds his tempo in untangling the knot and if this pace was uniform , ak may have fared better . ( more )
director thankar bachan is known for his poignant tales of human relationships on celluloid and he follows the same syntax in ammavin kaipesi too which is a cinematic adaptation of his own literary work of the same name . thankar is identified for his . . .
on wednesday , a section of the media had reported that shanthnu was getting married to keerthi , his childhood friend . but the
ammavin kaipesi
actor has refuted those reports and cleared the air on twitter .
im clearing the air that the news of . . .
thangar bachan is known for his artistic and heart melting films , and yet again he is all set to do the same . the audio launch of his next film , ammavin kaipesi happened at the satyam cinemas on 1st october . the guest list included k bhagyaraj . . .
iniya has had a superb start to this year . she won three awards for her amazing performances in vaagai sooda vaa and ammavin kaipesi and has been roped in for a women centric film , masani that will be directed by padmarajan . it is touted that the title . . .
the film is based on a novel of the same name written by the director . shanthanu and iniya play the lead role while thangar bachan plays a pivotal role . ammavin kaipesi was among 2012 deepavali releases and was released along with podaa podi and thuppakki receiving mixed to positive reviews .
ammavin kaipesi is supposed to be about the distances between members of the same family , and how a cell - phone often takes the place of near and dear ones but even though its heart is in the right place , too much melodrama and an endlessly meandering screenplay brings it down .
k . r . manigandan of the hindu speaks with national award - winning director thangar bachan on his latest , ' ammavin kaipesi ' , based on his novel of the same name . the director talks about the handpicked cast of the film . null . more in cinema multi media . . .
but in some ways , the focus is more or less turned on thankar , and he manages to acquit himself reasonably well . rohit kulkarni ' s score is passable , while thankar ' s camera - work is faultless . kishore te ' s editing could have been tauter . ammavin kaipesi . . .
director / cinematographer / writer thankar bachan has always had a knack of bringing sensitive stories and characters on celluloid with his distinct touches . this time , he presents tamil film ammavin kaipesi ( mother’s cell phone ) , produced by thankar thiraikkalam , and based on his own novella , of the same name .
it should have taken a lot of guts for the makers of ammavin kaipesi to release their film alongside thuppakki and podaa podi . director thankar bachan , best known for his film azhagi is back with yet another emotional tale ( supposed to be so ) with family values . does the movie have it in it to face stiff competition from the biggies ?
` ammavin kaipesi ` explores how people are dependent on mobile phones to stay connected to their loved ones . a mother has nine children but is separated from them . the only way she ` s in touch with them is via her mobile . this consequently leads her to getting possessive of her mobile . the film also depicts the relation between her and her youngest son , shanthanoo .
watch ammavin kaipesi ( அம்மாவின் கைபேசி ) tamil movie best scenes cast & crew - - - - - - - - - - - - - - - - - - - - - - directed by thangar bachan produced by thangar bachan written by thangar bachan starring shanthnu bhagyaraj , iniya music by rohit kulkarni cinematography thangar bachan edited by kishore te . production company thankar thiraikalam subscribe for more latest tamil hd full movies , songs urltoken
filmmaker thangar bachchan , known for his offbeat films such as ' azhagi ' and ' thendral ' , weaves an emotional tale of motherly love and how relationships are distanced by technology . with no big names associated with it , ' ammavin kaipesi ' hits the right chords and keeps you engaged throughout . of course , there are moments of highs and lows , but in essence , it is an effort and a plot worth special mention .
thankar is identified for his uncompromising styles of film making and ammavin kaipesi is no exception either . ak is about the boundless love of a mom towards her youngest wastrel of a son and his tryst with life to prove a point to the world . the pain that a mom feels on being forced to evict her son out and then suffer his absence are all well etched out by thankar . and a cell phone plays a significant role in the film justifying the title .
ak abounds in maudlin moments and such melodrama on the lines of television soap may prove pure poison at the cash counters and with the contemporary audience . the film certainly has a succulent story line but sadly the narrative style , the premise and the presentation are not in tune with current sensibilities . entertainment value is minimal in ammavin kaipesi which appears quite lengthy at 152 minutes . close to climax , the director builds his tempo in untangling the knot and if this pace was uniform , ak may have fared better .
thankar is identified for his uncompromising styles of film making and ammavin kaipesi is no exception either . for thankar , traversing in the intricate emotional by lanes is just a sweep and he does that in ak too . the ironical aspect of what happens to mom and son is very interesting and is a typical thankar style . the pace is leisurely but at points , brisk especially in the second half . the director’s passion for nativity is well known and praise points are due to the film’s real feel approach in showcasing the customs and practices of rural tamil nadu .
watch ammavin kaipesi thamizh full movie scene cast & crew - - - - - - - - - - - - - - - - - - - - - - directed by thangar bachan produced by thangar bachan written by thangar bachan starring shanthnu bhagyaraj , iniya music by rohit kulkarni cinematography thangar bachan edited by kishore te . production company thankar thiraikalam supporting cast - - - - - - - - - - - - - - - - - - - - - - - - - - - - revathi thangar bachan meenal nagineedu azhagam perumal thambi chozhan nsk . senthil kumar
filmmaker thangar bachchan , known for his offbeat films such as “azhagi” and “thendral” , weaves an emotional tale of motherly love and how relationships are distanced by technology . with no big names associated with it , “ammavin kaipesi” hits the right chords and keeps you engaged throughout . of course , there are moments of highs and lows , but in essence , it is an effort and a plot worth special mention . based on an eponymous novel written by the director , the story of the film revolves around an ageing mother and her nine children , who are only connected through mobile phones .
casting is one of the highlights of ammavin kaipesi where every artist from the core to the periphery has done their job convincingly . for shanthanoo , ak would be a milestone in his career graph that has essayed the role of annamalai with deep understanding and an apt body language . iniya delivers it right but the young girl is on the road of getting typecast as village belle . thankar as the money crazy and spineless prasad is a good choice and he earns brownie points in the scenes with his wife and also later as the guilt ridden man on a mission . meenal , azhagam perumal and revathy are adequate as support cast .
starring nandita das and parthepan . it was nandita das ' first tamil film , and the director had waited for two - and - a - half years to get her nod .
only through a mobile phone . she is most attached to her youngest son ( played by shantanoo bhagyaraj ) .
was based on a short story of his . revathy , who had acted with the likes of mgr , plays the mother .
the audio launch of the film was unique . thankar bachan had requested invitees to come with their mothers !
many celebrities such as suhasini and a r rahman were accompanied by their mothers .
suhasini said it was the first time that her mother was attending a film function ; in fact , she had not attended a single function of hers or kamal haasan ' s .
what is a r rahman doing at a dubai mall ? reader talib sends us a picture .
my film is about a mother , who is abandoned by her son . those , who have done something similar in their lives , will regret their action if they will watch the movie ,
bachan told ians .
the emotional drama features shanthnu bhagyaraj , iniya , revathy , thangar bachan and meenal in pivotal roles .
talking about shanthnu , he said that the had not seen any of his films .
a close friend showed me some scenes from one of his films and i knew immediately he had it in him to play the character in my film ,
he added .
the 50 - year - old cinematographer - turned - director is known for his offbeat and strikingly unique films . one of his critically acclaimed films is ' azhagi ' with nandita das .
rohit kulkarni has composed the music for the film which is slated to release on oct 19 .
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will parthepan make it to the guinness book ? if all goes well , the actor may soon find his name in the guinness world records . parthepan , who is to remake his national - award winning “pudhiya padhai , ” will be reprising his character from the original .
says parthepan : “the film will be the same , but with a different screenplay . the original was all about how a vagabond outrages the modesty of a girl and how she reacts to the situation . the story will be the same up to a point . however , in the new film , the girl will react to the depressing situation in a completely different fashion . i will be reprising the vagabond ' s role ; i believe no actor in the world has attempted to play the same role he had played 23 years ago . so , i ' ve applied to the guinness authorities in this regard . ”
the idea has already triggered interest in the industry with many calling up the actor to know how he intends to go about the film .
says parthepan : “i am on the lookout for a heroine . once i finalise the heroine , i ' ll start work on the film , hopefully by the end of june . ”
the team of “vazhukku en 18 / 9” had one more reason to cheer as the superstar himself took time off his hectic schedule to watch the film .
sources close to the unit say a special screening of the film was arranged for the superstar , who is busy with “kochadaiyaan” being directed by his daughter , at four frames on saturday .
says a source : “the superstar was visibly impressed with the film . he congratulated the entire team on having done a fine job . producer lingusamy , cameraman vijay milton and actor sri were among those present on the occasion . ”
iniya , who impressed audiences and critics alike with her scintillating performances in sargunam ' s “vaagai sooda vaa” and arul mozhi ' s “mouna guru , ” is back in the news .
says iniya , who was in chennai on sunday for a photoshoot of the film : “i play a college - goer called selvi who studies in a small town . shanthanoo and i play the lead . the music is to be scored by rohit kulkarni . ”
iniya is also busy with another film in tamil and one each in malayalam and telugu .
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the film is intended to be about a separated son annamalai ( shantanoo ) and his mother . annamalai is forced to leave his village after he is falsely accused as a thief . after seven years , he tries to reconnect with his mother through a mobile phone ( why was he waiting for seven long years ? ) . also , there is a small love track between him and his uncle’s daughter selvi ( iniya ) . on a parallel track , prasad ( thankar bachan ) comes to his home with huge sum of money and his wife tells him to give it back to the person who gave it . how is prasad connected with annamalai and what happens to annamalai forms the rest of the story .
shanthanoo needs to improve on his expressions as they look plain and artificial . the scenes where he breaks down do not create the necessary impact on the audience . iniya scores in certain scenes , like the scene in which she reads the letter in the bathroom . the person who plays the mother’s character is overdramatic at times , but good towards the end . thankar bachan , with his rural slang and rustic looks is too loud . one would wonder if his role was stretched a little too much .
rohit kulkarni’s background score is adequate and suits the milieu . but , the songs do not add much value to the film . thankar bachan’s camera work is functional while kishore’s editing is disappointing . many scenes look endless .
going by the title , one might naturally expect the movie to revolve around the son and mother . but for unknown reasons , the movie wanders around more on the sub - plots , thus bringing down the importance of the central theme . there are some heart warming scenes but they are far and few in between . many scenes look pretty unrealistic and overdramatic ( like the scene in which annamalai is accused as a thief ) . the only consolation is thankar bachan’s earnest attempt to make a movie in his trademark style without compromising on his vision . but , in the process , he has made the film look too outdated and draining .
movies this week : mr . chandramouli , pantham & my s . . .
steve ditko co - creator of marvel ' s spiderman & doc . . .
karenjit kaur : the untold story - sunny leone ' s biop . . .
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one more movie has joined the deepavali race , it seems . with three films ( ' thuppaki . .
director thangar bachan , revathy , nagi needu , heroine iniya , hero shantanoo , lyricist ekada . .
satyaraj , director vasanth , suhasini , parthiban , shanthanoo , bhagyaraj , poornima bhagyaraj . .
irector / cinematographer / writer thankar bachan has always had a knack of bringing sensitive stories and characters on celluloid with his distinct touches . this time , he presents tamil film
( mother ' s cell phone ) , produced by thankar thiraikkalam , and based on his own novella , of the same name .
the story kicks off from the present when prasad ( thankar bachan ) arrives at his locked home , enters it in stealthy fashion and climbs a loft to open a bag bursting at the seams with money . his wife catches him at it ; raves and rants about his stealing habits and begs him to return the loot . slowly , we ' re shown the story of the bag , its contents , and a letter , through which we ' re introduced to annamalai ( shantanoo bhagyaraj ) , his beloved selvi ( iniya ) , annamalai ' s mother and their lives .
it ' s simplicity itself : annamalai is a youngster who ' s led a pretty happy - go - lucky life with his eight siblings and a doting mother . he ' s in love with his cousin selvi , and their marriage has the sanction , more - or - less , of the adults of the family . much - maligned for loafing about for years , annamalai suddenly changes his lifestyle and earns the goodwill of selvi ' s father but just when everything seems set for a good life , he ' s accused of theft .
the settings and characters are extremely realistic , which is what you only expect of a thankar movie but it ' s equally obvious that there ' s precious little in the story that can be drawn out for almost three hours . characters change themselves at the drop of a hat , the narration is choppy and you wonder what happened to the finesse that ' s usually a part of his work . the story also revolves around a mystery , almost a whodunit - - except that you know what ' s going to happen right at the very end . but what truly sinks the movie is the melodrama which drags on and on .
shantanoo , given that he ' s presented with an opportunity to actually prove himself in a rustic role , does work hard , but can ' t rid himself of hamming .
iniya looks very pretty and cries well too - - in fact , all the characters do , at some point .
but in some ways , the focus is more or less turned on thankar , and he manages to acquit himself reasonably well .
rohit kulkarni ' s score is passable , while thankar ' s camera - work is faultless . kishore te ' s editing could have been tauter .
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urltoken
for thankar , traversing in the intricate emotional by lanes is just a sweep and he does that in ak too . the ironical aspect of what happens to mom and son is very interesting and is a typical thankar style . the pace is leisurely but at points , brisk especially in the second half . the director’s passion for nativity is well known and praise points are due to the film’s real feel approach in showcasing the customs and practices of rural tamil nadu .
rohit kulkarni’s background score is neat and ‘enna senju pore’s melodious rhythm is soothing . a few songs appear quite forced like the one which involves thankar and his wife meenal . even the item number types in the initial scene are also unwarranted . thankar’s cinematography is functional and his frames are good .
based on an eponymous novel written by the director , the story of the film revolves around an ageing mother and her nine children , who are only connected through mobile phones . the mother , who is forced to stay away from her children in isolation , creates a strong liking for her mobile phone , which she guards and protects with much care as she believes it ' s her only way to stay connected with her family . will the mother forever maintain her relationship through the mobile phone or not forms the rest of the story .
thangar presents the story in such a way that two interpretations can be drawn from it . firstly , the focus is on how technology helps people to be connected irrespective of the places they are in . secondly , it also focuses on how technology has paved the way to the distance in a relationship . for instance , since there are mobile phones and internet , people seldom take out time to meet their family members or even parents , for that matter . of course , as a viewer you ' re free to choose what ' s right from your perspective , but the director needs special mention for giving the audience the opportunity to put on their thinking hats and ponder over the story . brilliant !
yes , the film is relatively slow and patience - testing , but it is definitely worth the time and money spent . the director keeps everything as real as possible , but doesn ' t attempt to tamper with the setting of the film or its characters .
the actors have played their part quite well , and especially shantanoo and thangar have excelled in their respective roles . iniya , after her award - winning performance in ' vaagai sooda vaa ' , shows maturity in overall acting .
kishore ' s editing is crisp and reminds us why he walked home with a national award for his work in ' aadukalam ' , while rohit kulkarni ' s music was poignant and melodious .
thangar ' s screenplay , which is slow at times , maintains high emotional quotient throughout the film . having called the film an emotional tale , let me also clarify that it isn ' t tear - jerking . if you find moments that may give work to your tear glands , then please know that it is completely based on the person who is watching it , and not intentional .
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directed by debutante senthil kumar , ' vaaimai ' will portray goundamani as a cardiologist named doctor benny .
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after being accused of theft , annamalai leaves his house . his mother ranganayaki desperately tries contacting him using a cell phone in order to ask him to return to save their house .
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story the film is intended to be about a separated son annamalai ( shantanoo ) and his mother . annamalai is forced to leave his village after he is falsely accused as a thief . after seven years , he tries to reconnect with his mother through a mobile phone ( why was he waiting for seven long years ? ) . also , there is a small love track between him and his uncle’s daughter selvi ( iniya ) . on a parallel track , prasad ( thankar bachan ) comes to his home with huge sum of money and his wife tells him to give it back to the person who gave it . how is prasad connected with annamalai and what happens to annamalai forms the rest of the story .
thangar presents the story in such a way that two interpretations can be drawn from it . firstly , the focus is on how technology helps people to be connected irrespective of the places they are in . secondly , it also focuses on how technology has paved the way to the distance in a relationship . for instance , since there are mobile phones and internet , people seldom take out time to meet their family members or even parents , for that matter . of course , as a viewer you ` re free to choose what ` s right from your perspective , but the director needs special mention for giving the audience the opportunity to put on their thinking hats and ponder over the story . brilliant !
yes , the film is relatively slow and patience - testing , but it is definitely worth the time and money spent . the director keeps everything as real as possible , but doesn ` t attempt to tamper with the setting of the film or its characters .
the actors have played their part quite well , and especially shantanoo and thangar have excelled in their respective roles . iniya , after her award - winning performance in “vaagai sooda vaa” , shows maturity in overall acting .
kishore ` s editing is crisp and reminds us why he walked home with a national award for his work in “aadukalam” , while rohit kulkarni ` s music was poignant and melodious .
thangar ` s screenplay , which is slow at times , maintains high emotional quotient throughout the film . having called the film an emotional tale , let me also clarify that it isn ` t tear - jerking . if you find moments that may give work to your tear glands , then please know that it is completely based on the person who is watching it , and not intentional .
synopsis / plot : technology helps us be connected with our near and dear ones , but doesn�t it also distance ourselves from our family and friends physically , form the crux of the film .
going by the title , one might naturally expect the movie to revolve around the son and mother . but for unknown reasons , the movie wanders around more on the sub - plots , thus bringing down the importance of the central theme . ( more )
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mupparimanam - best scene | shanthanu bhagyaraj | srushti dange | g . v . prakash kumar
rabhasa full movie part 3 | | jr . ntr , samantha , pranitha subhash
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southern actress iniya has been roped in by thiru for his next , naan sigappu manithan . the actress is now a part of the cast that includes vishal and lakshmi menon . the film will be produced by vishal , ronnie screwvala and siddharth roy kapoor .
tamil nadu ' s favourite and one of the most celebrated comedians , goundamani is likely to return to cinema . we hear the veteran actor will be making an appearance in vaaimai , directed by senthil kumar , a former associate of director vasantha balan .
thankar bachan , well known tamil cinematographer , made his debut as a director with the much acclaimed azhaki starring nandita das and parthepan . it was nandita das ' first tamil film , and the director had waited for two - and - a - half years to get her nod .
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the story kicks off from the present when prasad ( thankar bachan ) arrives at his locked home , enters it in stealthy fashion and climbs a loft to open a bag bursting at the seams with money . his wife catches him at it ; raves and rants about his stealing habits and begs him to return the loot . slowly , we’re shown the story of the bag , its contents , and a letter , through which we’re introduced to annamalai ( shantanoo bhagyaraj ) , his beloved selvi ( iniya ) , annamalai’s mother and their lives .
it’s simplicity itself : annamalai is a youngster who’s led a pretty happy - go - lucky life with his eight siblings and a doting mother . he’s in love with his cousin selvi , and their marriage has the sanction , more - or - less , of the adults of the family . much - maligned for loafing about for years , annamalai suddenly changes his lifestyle and earns the goodwill of selvi’s father but just when everything seems set for a good life , he’s accused of theft .
the settings and characters are extremely realistic , which is what you only expect of a thankar movie but it’s equally obvious that there’s precious little in the story that can be drawn out for almost three hours . characters change themselves at the drop of a hat , the narration is choppy and you wonder what happened to the finesse that’s usually a part of his work . the story also revolves around a mystery , almost a whodunit — except that you know what’s going to happen right at the very end . but what truly sinks the movie is the melodrama which drags on and on .
shantanoo , given that he’s presented with an opportunity to actually prove himself in a rustic role , does work hard , but can’t rid himself of hamming .
iniya looks very pretty and cries well too — in fact , all the characters do , at some point .
rohit kulkarni’s score is passable , while thankar’s camera - work is faultless . kishore te’s editing could have been tauter .
nw1w . after a decent start in porkkalam ( 2009 , tamil ) and a non - descript single in chalo dilli ( 2011 , hindi ) , this is a shocking turn for the worse from rohit .
wondering , in the first place why thangar bachan went to a hndi composer , considering the kind of films he makes . vidhyasagar would have worked well
exactly my wonder too – he was getting good music from vidyasagar and raja . i have heard that even bharadwaj gave him superb music for his now - stuck - in - the - cans ‘kalavaadiya pozhudhugal’ ( starring prakash raj , prabhu deva and bhumika chawla ) . strange choice for composer , this time !
what kind of a review is this ? have you heard all the songs ? instead of dissecting the songs you have just given a one line statement demeaning the man’s work ! i just heard all the tracks and each one is unique and shows the versatality of the music director . it is music which touches the soul and will be proven once the music releases .
w . r . t the comment below , music has no language ! just like how rehman has scored for other languages other than tamil , why can’t someone else score for a tamil film ? it is time we got out of this narrow minded mentaility and opened our minds in this changing world .
sorry – i should have added some context to thangar roping in a new composer and my comment on it . thangar bachan has always been a staunch supporter of tamil artists and tamil pride . so it is rather surprising that he actually someone from outside tamil nadu for this project . not that there’s anything wrong with it – just surprising , given his past utterances on this subject .
on the other point – about my opinion on this soundtrack… it remains the same . not demeaning it , but i can’t wax eloquent on it either , since that would be against my conscience . you just have to live with the fact that there is at least one person whose soul has not been touched with this soundtrack / these songs .
porkkalam was purely director’s show . bandi sarojkumar is a one man army . you can sense his style of cinematography and music in asthamanam too similar to his 1st movie porkalam , with a different set of technical crew for his 1st movie . i also follow bandi’s interviews which are very informative and knowledgeable , which express his strength towards technical aspects . so i strongly feel rohit will have nothing to get compared with porkkalam . this must be his actual potential though . but i respect thangar bachan sir for his off - beat message oriented stuffs . lets wait for the movie to come out .
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200 300 akshay kumar amit trivedi anirudh ankit tiwari anup rubens arjun janya a r rahman deepika padukone devi sri prasad d imman g . v . prakash kumar ghibran gopi sundar gopi sunder gv prakash kumar harris jayaraj himesh reshammiya ilayaraja joshua sridhar kajal agarwal kareena kapoor manikanth kadri manisharma mani sharma meet bros anjjan mickey j meyer mithoon pritam priyanka chopra rahul raj sachin - jigar sajid wajid salim sulaiman salman khan santhosh narayanan shaan rahman shankar ehsaan loy thaman thaman s vidyasagar vijay antony vishal shekhar yuvan shankar raja
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nenjil eno indru ii . mp3 artists : haricharan duration : 4 : 53 min
thalai mudhal padham varai . mp3 artists : folk music duration : 4 : 12 min
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nenjil eno indru kaathal kolai athu nesamthana endru nambavillai iru pookalthan naar saernthida mudiyathadhenada ? uyir kaathalthan ingu vaazhunthida vazhi ondru koorada vaasal koalam kaatril kalainthathae… .
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