Pokkisham Vs Kandasamy
Comparing these two is like comparing a kinder garden kid vs a professional. Former being Kandasamy and latter being the Pokkisham. The way Tamil industry or any other film industry going questions the very basic thing, ” Are we becoming that stupid ? “. Today’s movie is no more than a glamour show and people behind the film think that people can accept anything that director throws at them. Take for example a hero able to handle 10+ Rowdies ( 10 is the least number here), how many of you in real life have seen a person fighting and winning at least one person ? its simply near to impossible unless you are a trained Karate master. Directors stop thinking that Tamil actors are the super hero. If you want to show them as super hero then create a super hero movie like super man or spider man. You are making Tamil industry look pathetic. Kandasamy is the film which tries to show the hero as super hero, taunting as a super hero movie, first in Tamil industry, etc, etc… Kandasamy shows that Tamil director can never keep up their words and also shows that they cant create a super hero movie. Kandasamy is all about promises and how they fail ( suck ) to the core. Before the release the team had a village adopted. they show their intention is good, but at the same time do this … ” The inauguration of Kanthaswamy took place on 22 September 2007 at the Devi Paradise theatre in Chennai. For the event, a unique electronic invitation, made in China, was presented to guests who had been invited. The invitation was the size of a laptop and featured an 8-minute trailer of Kanthaswamy.[9]Rs. 15,000, making it the most expensive invitation in Indian film history Each invitation had cost about“, a quote taken from wiki.
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I still don’t get it. they want to have poor people helped out and still they spend lavishly on nothing ( Invitation ) . they could have simply used SMS service to invite or a simple call would have sufficed. why go for a costly ( costliest ever ! ? ) invitation ? . This is the problem with our directors, they over shoot the target my almost a mile or they don’t have a target at all.
Pokkisham, A treasure. Pokkisham on the other hand defines everything, love, class, director, story, cast, song … everything. Why don’t these kinda movie doesn’t make a good impression? why cant these films come up irrespective of who produced it or what its budget is? Pokkisham is how films should be. and Kandasamy is the film what a Tamil film should never be! Pokkisham excels in many places like songs, cast, characterization, story, the time it was taken, the details in the film, and last but not the least, a pure love!
I don’t think a detailed review on both will ever be necessary, coz I can finish them in few words..
— Pokkisham —- a Pile of Diamond
— Kandasamy — a Pile of Sh!t
Kandasamy speaks about how the world around is corrupt and how hero takes on various actions to correct it. its really funny that the director shows no character of any professionalism in any sort. here are a few questions to him
1.) What happens to the big shots after he sees Vikram in those funny characters roaming here and there and dancing .. etc? my question is .. Can one have a pleasant sleep afer seeing all those things ? i doubt it. If so what happened to the roped which are tied around him so that he is still in the bed able to only watch vikram dance and stunt etc…. can he even feel a rope around him ? PATHETIC !
2.) What about the helicopter which came along with the black villain ( i forgot his name … wait should i ever have to remember those names ? ) in Mexico when he travels all the way out of the city in the middle of nowhere just to ask vikram ” Tell me what info`s have you told the CBI ? ” , cant he just ask it in his place ? and hey what happened to the helicopter ? didn’t you pay for it ?
3.) Does breaking a luxury bus prove anything here ? you go to a great distance and spend loads of money where its not needed and you show that you are best at spending it all the unnecessary ways one can think of.
4.) Why was there a Meow Meow song ? Vikram comes to shriya home to get rid of her , then the song .. after that the film continues.. nothing..
there are so many questions. But to sum it up all , just get the Friday review of Hindu a few weeks back and read the review about kandasamy there . There is no suitable review than that. A special hats off to the reviewer.
Well coming to the comparison , Pokkisham is all Tamil industry should take as a sample and work on . And kandasamy is the best sample when all the perfect mixture can result in a disaster. Charan excels in his direction , even though acting could have been slightly better. When all the new movies come out with loads and loads of glamour, Cheran`s Pokkisham differs greatly by not having any of those and to portray just LOVE ! The director shows his love for the language and which i think not many directors nowadays think of. All those little Tamil verse and sweet pure Tamil words, it by itself stands tall and takes home the film to a victory . The last scene where Padma Priya holds the long letter and starts to read , i was thinking , ” OMG how can we sit for such a long time till she finishes the letter ?” , but again kudos to director , the short pauses and very well narration makes one sit and even stand to the last few minutes . Hats of Cheran Sir .
One thing is sure , People go by the names and cast and everything and forget about story , acting , screen play etc.. films like pokkisham should be hailed and promoted over Sh!t like Kandasamy. When people behind the movies realise that its all about story and acting rather than glamour and crew , then i think we can see some really worthy movies. Until then prepare your self for movies like Kandasamy , Masilamani , Sivaji , Villu etc.
Again Hats Off to the great director , Chearan !
dude u did the same mistake as kamal did!!!!
check out the third line from the below in the last but one para!!!!
OMG i cant belive it!!!!
I dont get it K.S
What mistake are u pointing out ? Grammar ?
Luchino ViscontiLuchino Visconti’s film career spnaned over four decades, making him a key force in 20th-century Italian cinema. However, it was in Paris that his career began when he befriended the fashion designer Coco Chanel, who introduced him to Jean Renoir. Visconti worked with Renoir on various film projects, one of which was the film Une Partie de Campagne (1936), as costume designer and assistant director. During this period, and contrary to his aristocratic upbringing, he became influenced by Marxist ideology, and these beliefs would later shape his own style of film-making.Visconti did not direct his first film until 1942, when he returned to Italy. Ossessione was based on the novel The Postman Always Rings Twice by James M Cain. Visconti’s adaptation was unauthorised – which meant the film was rarely screened in the USA – and heavily censored by fascist officials of Mussolini’s regime. Despite all its difficulties, it remained a success in Italy and is regarded as the first film of the Italian neo-realist movement.Visconti’s political leanings were expressed in his second film La Terra Trema (The Earth Trembles) (1947), which tells the story of class exploitation in a small Sicilian fishing village. This theme continued with the 1960 film, Rocco e i Suoi Fratelli (Rocco and his Brothers).In his later work, Visconti seemed to move away from the neo-realist style towards more historical and literary themes. The battle between progress and nostalgia is constantly fought in this director’s work, but towards the end of his career Visconti seemed to favour the latter with a definite air of scepticism about the value of progress.One such film was the cinematic epic Il Gattopardo (The Leopard) (1963), starring Burt Lancaster as the Prince of Salina. By arranging the marriage of Tancredi, his nephew, and Angelica, the daughter of a rich merchant, the Prince attempts to financially rescue and secure the future of his family by joining the old aristocracy with the new money of the bourgeoisie. This film’s operatic style was a cross over from Visconti’s theatre work.Visconti was openly gay, but few of his films dealt with the issue of male homosexuality. The most notable exception to this was the 1971 film Morte a Venezia (Death In Venice) from the novel by Thomas Mann. Dirk Bogarde plays the lead character, the reserved composer Gustav Aschenbach who, when confronted with the purity and beauty of a young boy, played by Bjorn Andresen, allows the secret passion within him, his homosexuality, to awaken.Visconti returns to the topic of the aristocracy in the melodrama L’Innocente (The Intruder) (1976). This was to be his final film. As a result of the strokes he suffered in 1972 and 1974, which left him completely paralysed, Visconti died at the age of 70 before editing was completed.During his life, Visconti had made over 20 films, many of which are considered cinematic masterpieces, directed plays by Arthur Miller and Tennessee Williams, and staged ballets and operas, such as La Vestale (1954) and La Sonnambula (1955), starring Maria Callas.”Visconti’s death marked the end of an era of Italian cinema” – Geoffrey Nowell-Smith
Luchino ViscontiLuchino Visconti’s film career snapned over four decades, making him a key force in 20th-century Italian cinema. However, it was in Paris that his career began when he befriended the fashion designer Coco Chanel, who introduced him to Jean Renoir. Visconti worked with Renoir on various film projects, one of which was the film Une Partie de Campagne (1936), as costume designer and assistant director. During this period, and contrary to his aristocratic upbringing, he became influenced by Marxist ideology, and these beliefs would later shape his own style of film-making.Visconti did not direct his first film until 1942, when he returned to Italy. Ossessione was based on the novel The Postman Always Rings Twice by James M Cain. Visconti’s adaptation was unauthorised – which meant the film was rarely screened in the USA – and heavily censored by fascist officials of Mussolini’s regime. Despite all its difficulties, it remained a success in Italy and is regarded as the first film of the Italian neo-realist movement.Visconti’s political leanings were expressed in his second film La Terra Trema (The Earth Trembles) (1947), which tells the story of class exploitation in a small Sicilian fishing village. This theme continued with the 1960 film, Rocco e i Suoi Fratelli (Rocco and his Brothers).In his later work, Visconti seemed to move away from the neo-realist style towards more historical and literary themes. The battle between progress and nostalgia is constantly fought in this director’s work, but towards the end of his career Visconti seemed to favour the latter with a definite air of scepticism about the value of progress.One such film was the cinematic epic Il Gattopardo (The Leopard) (1963), starring Burt Lancaster as the Prince of Salina. By arranging the marriage of Tancredi, his nephew, and Angelica, the daughter of a rich merchant, the Prince attempts to financially rescue and secure the future of his family by joining the old aristocracy with the new money of the bourgeoisie. This film’s operatic style was a cross over from Visconti’s theatre work.Visconti was openly gay, but few of his films dealt with the issue of male homosexuality. The most notable exception to this was the 1971 film Morte a Venezia (Death In Venice) from the novel by Thomas Mann. Dirk Bogarde plays the lead character, the reserved composer Gustav Aschenbach who, when confronted with the purity and beauty of a young boy, played by Bjorn Andresen, allows the secret passion within him, his homosexuality, to awaken.Visconti returns to the topic of the aristocracy in the melodrama L’Innocente (The Intruder) (1976). This was to be his final film. As a result of the strokes he suffered in 1972 and 1974, which left him completely paralysed, Visconti died at the age of 70 before editing was completed.During his life, Visconti had made over 20 films, many of which are considered cinematic masterpieces, directed plays by Arthur Miller and Tennessee Williams, and staged ballets and operas, such as La Vestale (1954) and La Sonnambula (1955), starring Maria Callas.”Visconti’s death marked the end of an era of Italian cinema” – Geoffrey Nowell-Smith