Apocryphal Stories !!!

Ravi Teja must be in a huge quandary right now. Once acclaimed as a minimum guarantee hero, he is craving for a minimum guarantee movie now. With Mirpakaya it seemed as if he had reached a level of stardom. Pity then, it has been all downhill after the hit of Mirpakaya The movie in question, Devudu Chesina Manushulu, has nothing to satiate an average viewer. Nothing at all. For a Ravi Teja fan like me, it is a different matter altogether. I can watch the crappiest of films that he has a role in and not complain. So looking for complaints from me on this movie would be futile. *This is a rant, you can progress to the next Para and wouldn’t have missed anything* In December 2008, Neninthe released and was blasted back from the screens because it criticised certain sections of media crudely. There wasn’t a single review that had good words for the movie. Today, as I couldn’t see the movie FDFS, I did check in to find a few reviews. I wasn’t surprised by what Deepa Garimella

Till lunch the match seemed evenly poised. The introduction of the captain, AJ Ball, into the attack eased the pressure on the Australian batsmen. The pull shot by Head off Ball had resounding effect. Twice, Australia tried to mount a counter-attack and both the times the batsman trying to do it was dismissed. Jamie Overton, exchanged a few words with Patterson after being swatted for a boundary and delivered the perfect riposte- an away swinger pitching just outside the off stump. That was the last wicket that England got. Australia got away on account of a tactical blunder by England. England did not bowl Jamie Overton immediately after lunch, thus allowing Bosisto to secure up one end. In the morning session, both Paris and Steketee got their first wickets with deceptive inswingers. While Paris foxed Drummond with a fuller delivery, Steketee disturbed the woodwork as Foakes left it alone thinking it would swing away. Sandhu offered no respite with his height. He bowled shor

There are directors who know the mass pulse and can set the cash registers ringing. There are directors who can make the best of wooden faces act. There are directors who feel that it’s their job to make movies and make it the way they like it, regardless of the mass sensibilities. There are directors who mould their working style to the strengths of the actor, thereby bringing the latent talents to the fore. Trivikram Srinivas belongs to the last class of the directors Allu Arjun, for most of us, is known as an actor whose strength doesn’t lie in reciting pages of dialogues. It still isn’t. Trivikram comes into the picture here, as he doesn’t expose this particular weakness by giving him short dialogues and crispy one’s at that. Trivikram’s movies have all got similar ingredients- dialogues, romantic track of the hero with a weak female protagonist and a patriarchal character. From Jalsa on, he has had one more thing added to the list- comical performances by the protagon