naan rajavaga pogiren ( english : i am going to become a king ) is a 2013 tamil action film co-written and directed by prithvi rajkumar , assistant of vetrimaaran and writer of sathyaraj starrer lootty and 6.2 .

the film features nakul , chandni and newcomer avani modi in the lead roles .

the film opened average reviews and was an average grosser at the box office .

naan rajavaga pogiren

naan rajavaga pogiren <EOT> naan rajavaga pogiren review . naan rajavaga pogiren tamil movie review , story , rating - urltoken

naan rajavaga pogiren in cinemas 26th . . . - msk film production sdn bhd

naan rajavaga pogiren is a chronicle of jeeva ' s journey and what he discovers about raja .

naan rajavaga pogiren songs lyrics & videos : naan rajavaga pogiren tamil movie / album the songs have been sung by megha , rahul nambiar , santosh hariharan , g . v . prakash kumar , saindhavi , sonu kakkar , silambarasan soundtrack album and music for all songs of naan rajavaga pogiren , there are 5 songs which are composed by g . v . prakash kumar , lyrics of naan rajavaga pogiren are penned by annamalai , madhan karky , prithviraj kumar . naan rajavaga pogiren songs lyrics are provided in the below list with song details .

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on the whole , naan rajavaga pogiren is an ambitious effort , by a promising new comer , but with a less gripping screenplay .

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naan rajavaga pogiren will be an youthfull entertainer which completely revolves in and around chennai . nakul plays the male lead & new faces avani modi . . .

the trailer of ' naan rajavaga pogiren ' featuring nakul , chandini and newcomer avani modi was released yesterday along with the audio launch that happened at sathyam cinemas . after a small break , nakul came up with next movie titled ' naan rajavaga pogiren ' which is directed by prithvi rajkumar and written by vetrimaaran .

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after a small break , nakul is back with his next movie titled ' naan rajavaga pogiren ' which is directed by prithvi rajkumar and written by vetrimaaran . nakul has had a mixed - bag of a career so far and he is betting on his latest ' naan rajavaga pogiren ' with chandini and newcomer avani modi as the heroines .

chandini plays valli , a law student , an activist and raja ' s girl friend . in a nutshell , naan rajavaga pogiren is a tale of love , friendship and awareness .

vetri maaran’s assistant prithviraj kumar will be making his debut as director with the film naan rajavaga pogiren . interestingly , the national award winning director will pen the dialogues for assistant’s debut film . gv prakash has been signed up to score the music for this film which has nakul playing the hero . nakul will be paired up with two heroines avani modi and snadhani in naan rajavaga pogiren .

his kadhalil vizhunthen showed some promise but after his subsequent releases kandhakottai and masilaamani , nakul seems to have had to wait for a few years until his latest naan rajavaga pogiren is getting ready for release now . touted to be an action film , co - written and directed by prithvi rajkumar , the movie is produced by udhayam vls cine media and vetrimaaran has written the dialogues . naan rajavaga pogiren has chandni and avani modi in female lead roles with manivannan , delhi ganesh and mayilsamy in pivotal roles . katrina kaif look - alike zarine khan has been roped in for an item number with minute long cameos by vetrimaaran and the film’s composer gv prakash . naan rajavaga pogiren is releasing this weekend . vetrimaaran ' s association is likely to bring the movie some buzz as last week ' s release udhayam nh4 , that was partly produced and written by vetrimaaran , has been received quite well .

naan rajavaga pogiren marks the directorial debut of yet another assistant of vetrimaaran , prithvi rajkumar . produced by udhayam vls cine media , the film stars nakul , chandini and avani modi in the lead roles and manivannan , kasthuri , suresh , gaurav , a venkatesh and seetha in supporting roles . vetrimaaran has penned the dialogues .

naan rajavaga pogiren is a 2012 tamil action - romance film , directed by prithvi rajkumar and produced by udhayam vls cine media . this film stars nakul , chandni , avani modi in the lead role . the films soundtrack and background score were composed by g . v . prakash kumar with lyrics by madhan karky , annamalai & prithvi rajkumar .

the story is the strongest element of naan rajavaga pogiren . on paper , it looks excellent but what spoils it is the screenplay . prithvi rajkumar has attempted to do a vetrimaaran’s style of screenplay , but hasn’t done it quite well . too many flashbacks leave the audience befuddled at places . another let down in the film is its poor pace .

naan rajavaga pogiren is an action entertainer directed by prithvi rajkumar and written by vetrimaaran . the film features nakul , chandni and newcomer avani modi in the lead roles . music has been scored by g . v . prakash . the film has been censored with a clean ' u ' certificate . the film is set to hit the screens on april 26 .

the audio launch of the film ' naan rajavaga pogiren ' featuring nakul , chandini and newcomer avani modi is set to take place on the 14th of december . it is being made by newcomer prithvi rajkumar , who is a former assistant of vetrimaaran . the talking point of the film has been vetrimaaran ' s dialogues who has promised that there will be a strong message attached to the movie .

naan rajavaga pogiren is a 2013 tamil movie which revolves around a young man and his life at college . he is an easy going happy man with a best friend and a girlfriend . the story goes into a twist when there is a look alike of him who is in search of him through one of their common friend . the movie has the hero in a dual role which is played by nakul .

to watch this full movie for free log on to urltoken to buy this movie in dvd click on the link below follow us - urltoken contact us - no . 703 , anna salai , chennai - 600002 . phone - 044 - 28297564 , 044 - 28297175 . naan rajavaga pogiren tamil movie . production : udhayam vls cine media starring : nakul , chandni , avani modi director : prithvi rajkumar lyrics : madhan karky , annamalai & prithvi rajkumar

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hindu wrote : " not - bad fare for masala movie fans " . [ 8 ] behindwoods wrote : " naan rajavaga pogiren is an ambitious effort , by a promising new comer , but with a less gripping screenplay " . [ 9 ] sify stated on the whole , it is well - worn , formulaic fare that might appeal to viewers who find comfort in the familiar . if you have time go for it , as it is not entirely unwatchable . [ 10 ]

but while judging any film , you open up an excel spreadsheet in your mind and lay out the pluses and the minuses , and i found naan rajavaga pogiren doing more things right than wrong . i enjoyed the enga veettu pillai red herring , and perhaps only regular tamil - film watchers will appreciate the way cops are integrated into the fight scenes here , or how the villain really seems to know how to kickbox ( raja is a kickboxer as well , and nakul uses his litheness to good effect ) , or even how the heroine appears familiar with the language .

a good masala movie needs a touch of the mythic , and naan rajavaga pogiren has this at least in theory . ( and as we slowly realise , it also carries a clever pun in its title . ) jeeva ( nakul ) , a questionably bewigged youngster who’s grown up amidst the apple orchards of himachal pradesh , comes to know that there’s someone who looks exactly like him , someone named raja , in faraway chennai . he’s possessed by the notion of this lookalike — and we find ourselves in the kind of story where there are no random coincidences , where everything is being orchestrated by the baton - wielding big guy up in the sky .

movie title - - - naan rajavaga pogiren unbelievable - - - director prithvi rajkumar directs actor nakul for 1st time . imdb rating - - 5 . 9 director prithvi rajkumar directs actor nakul for 1st time . director prithvi rajkumar and music director g . v . prakash kumar joins for 1st time . cast - - g . v . kumar as reemas father gaurav narayanan as police ravi kasthuri as professor bharathi manivannan as kamaraj below actors passed away - - manivannan died on 15 - jun - 2013 movie details - - directed by - prithvi rajkumar music by - g . v . prakash kumar produced by - v chandran release date - 26 - apr - 13

it’s no coincidence , either , that the director , prithvi rajkumar , dedicates the film to raj kapoor and sridhar . he knows his commercial cinema — and not just in the sense of quoting from the past , like the wink at the lesbian undertones in the lyrics of senthamizh thenmozhiyaal . he knows that this kind of cinema is about making the ludicrous look not possible but plausible . his instincts are sound . there’s nothing new in naan rajavaga pogiren , but it’s worked out diligently and with respect for the audience . rajkumar doesn’t hurl crap at us and say , “look , it’s a masala movie . you shouldn’t think about any of this . ” he’s clearly put thought into his plot , his characters . when the hero’s friend , a derivative of the “good muslim” archetype from an older era of cinema , stumbles into a situation fraught with danger , he first escorts his pregnant wife to the nearest auto - rickshaw , and only then , after ensuring her safety , does he rush to the scene .

sometimes when you are regaling your friends with a story , you tend to be a bit long winded about it , until your friends tell you to stop taking a detour and get to the point . something like that happens with the telling of ` nan rajavaga pogirein ' . director prithviraj kumar comes up with such an elaborate tableau that he takes nearly two and half hours to tell the story . this is a film about love , but it takes a detour around activism , about genetically modified crop , about goondaism and street fights and a few other things as well . like jeeva ( nakul ) who sets off from himachal pradesh with the aim of reaching chennai , but makes an impulsive stop in bhopal , the director begins well and sets up the suspense angle well , but he stops here and there to focus on minor characters .

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raja ( nakul ) is a boxing champion based in chennai and jeeva ( nakul ) , his look alike , is an innocent man living in himachal pradesh . a mutual friend of both educates jeeva about raja . eagerness forces jeeva to go in pursuit of his look alike .

nakul has done some solid work for the film and it is evident . he shows enthusiasm and intent in his performance . he has particularly done well in the action sequences and the entire credit goes to dilip subbarayan . among the two lead ladies , chandini scores better and has been awarded more screen space . avani modi , on the other hand , appears juvenile in parts and her dubbing ( by chinmayee ) is far too expressive to match her performance .

other senior actors , manivannan , kasthuri , seetha , a . venkatesh and suresh , have done their small parts with perfection . particularly , manivannan’s gruff voice suits his role of an activist . a . venkatesh plays the template tamil villain and his role has supposedly been inspired from saamy’s perumal pichai , as one of the characters in the movie says . another notable performance was nishanth’s , who plays the friend of nakul .

on the other hand , vetrimaaran’s regulars don’t fail his assistant . cinematographer velraj has no problem crafting each frame with impeccability and freshness . gv prakash’s background score does very well to add to the tension prevalent in the film . but his songs don’t create the same magic . songs are wrongly placed and one might get a feeling that there are too many of those .

this page hosts the reviews of the latest tamil and hindi movies . it also includes a verdict about the movie and a final star rating . people looking for film reviews , movie reviews , movie rating , movie verdict , movie analysis , movie cast and crew will find this page useful .

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from jeeva’s narcolepsy to the heroine’s ( valli , nicely played by chandni ) unfamiliarity with western clothing , everything is explained , and when reema ( avani modi ) , raja’s best friend , is spurned in love , she accepts her lot with a healthy shrug . this is a film that respects its women , to the extent that its engine is revved up by valli’s speculative thesis at a law college . when was the last time you saw a heroine who did more than just cling to the hero’s arm ?

it’s a pity , then , that despite all this effort , the film doesn’t fully deliver on its promise . a lot of the narrative unfolds through dialogue , and these exposition - heavy stretches — lecturing to us , at times , about plastics , aids , genetically modified crops , even the recent trend of re - releasing old films — put a brake on the momentum . as do the songs , one of which is an item number that shamelessly mimics the choreography of chikni chameli , with zarine khan producing in her gelatinous midriff the ripple effect so beloved to tamil audiences .

and rajkumar doesn’t punch up his material as he should . jeeva’s decision to go in search of raja should have carried a whiff of inevitability — it is destiny , after all .

we feel that the director was in a hurry to rush through this material in two - and - a - half hours — there’s no other explanation , in a film otherwise so well - thought - out , for a contrivance as ugly as the sudden appearance of the hero’s father in an action sequence .

a long time ago , i used to evaluate leading ladies on their ability to plough through comedy and intense drama , combining timing and emotion and rhetoric , but these days i’m happy if they simply manage to move their mouths in accordance with the lines being spoken by the dubbing artists . after all , we live in an age of tamil cinema where tamil has little to do with the cinema .

storyline : a young man gets sucked into an adventure as he searches for his lookalike .

“college paadam” has modern , youth - centric lyrics targeted at the youngsters . the tune is not so catchy and there is nothing new in the experimentation front . the lyrics are tried and tested about care - free , last bench students . the vocals too fail to impress . may be we might expect some dance moves from nakul onscreen .

youngsters watch out ! this is the type of song one would associate with simbhu’s singing . we have come across so many songs with this type of lyrics and this one adds to that list as well . the song ‘tries’ to be urban , cool and casual and the lyrics look forced . the director himself has penned it and one hopes he makes his directorial attempt better than this lyric writing attempt . this song might still work wonders and become popular among youngsters thanks to gv’s and simbhu’s fan base .

the better among the rest ! the vocals are auto - tuned to the extent that one might wonder the need for auto - tuning . saindhavi joins gv prakash and this song is quite chirpy , somewhat trendy and will be lapped up by radio stations & music channels . still , the usage of auto - tune leaves a disappointing impression among listeners .

this song has an interesting prelude and interlude in punjabi style but that’s about it . the song then changes its route to a slow , female oriented song where the heroine describes his man with lyrics by madhan karky . the gv prakash touch is certainly missing but still the song manages to pass through our ears .

this is supposed to be the much hyped zarine khan item number . sonu kakkar starts off hitting the high notes easily . the tune is outdated and the lyrics have nothing new in them . the “mandirakari” segment somewhat impresses . musically , nothing new . but , the song guarantees good dance moves going by the beats and arrangements .

looking at some of gv prakash’s albums in the last 2 years ( aadukalam , mayakkam enna , deivathirumagal , muppozhudhum un karpanaigal , paradesi , thandavam ) this one is easily his least impressive album . the gv prakash’s trademark melody is missing and there is absolutely nothing innovative in this album . this album might improve after repeated hearings or once the movie gets released . but , overall it is an average album going by gv’s standards .

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a young man gets sucked into an adventure as he searches for his lookalike .

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raja ( nakul ) is a kick boxer , a happy - go - lucky guy who falls madly in love with valli ( chandni ) who is a law student . she is into a lot of social causes and assists kamaraj ( manivannan ) who is fighting a losing battle against a thug isaikimuthu . valli along with her senior ( kasturi ) tries to re - open kamaraj ' s suicide case and has evidence to prove that it was a murder , she is on the run . no , our macho hero turns her savior and tried hard to protect her . there is reema ( avani modi ) and wahab , friends of raja who helps him . how raja fights all the goons single - handedly and triumphs forms the story .

the shoot of the film began on december 12 , 2011 at singaperumal temple .

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jeeva slinks out of home after leaving an note for his mother ( seetha ) and heads to chennai , in search of raja , a kick boxer during his college days , who falls in love with a law college student activist valli ( chandini ) . but his best friend reema ( avani modi ) is in love with him . a nice triangle , you think , when suddenly the director spins a ` carrom ball ' your way . valli ' s life is in danger , because she questions the alleged suicide of kamaraj manivannan ) , an activist against genetically modified crops . isakimuthu ( a venkatesh ) , who is all for gm crops , pays hired killers to get her . on nearly half a dozen occasions , raja manages to keep a step ahead of the goons , and when he is unable to , he bashes them up . but there comes a time when he is badly beaten up and knifed as well .

what happens to raja and what is the role of jeeva in getting the better of the goons , and which of the girls get raja are interesting turns . nakul pulls off what is required of him , but sadly , we cant say the same of the two heroines . avani ' s lip sync is off key many times , while chandini doesn ' t yet have the ability to pull of emotional scenes .

gv prakash ' s back ground music rolls , roils , gentles and thunders as the situation demands , but the flow of the story is marred by the songs , although a couple of them in the first half are enjoyable , with some good , signature choreography by brinda . the item number by zarine khan which though not bad tests your patience no end because of its timing . velraj ' s camerawork is praiseworthy , specially in the fight scenes ( good stunt work there ) and some of the rain shots are not too bad either . vetrimaran ' s dialogues are good most of the time , but some have the flavor of a ` medai pechu ' .

the only problem with the film is that it is good only in places . had the director trimmed the screenplay , and fielded fewer characters , this might have been more enjoyable . in its current form it is as enjoyable as the noontime chennai weather .

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' has cinematography by velraj under udhayam vls cine media productions . g v prakash kumar has composed the track for the films and recently confirmed that actor simbu has sung a song in the soundtrack .

the talking point of the film has been vetrimaaran ' s dialogues who has promised that there will be a strong message attached to the movie .

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college paadam composed by g . v . prakash kumar written by annamalai performed by rahul nambiar , megha sriram , santhosh

yaarivano composed by g . v . prakash kumar written by madhan karky performed by g . v . prakash kumar , saindhavi

kalaaipom composed by g . v . prakash kumar written by prithvi rajkumar performed by t . r . silambarasan , maya , satish

raja raja composed by g . v . prakash kumar written by madhan karky performed by shalmali kholgade

malgove composed by g . v . prakash kumar written by annamalai performed by sonu kakkar

g . v . prakash kumar has composed the track for the films and recently confirmed that actor simbu has sung a song in the soundtrack . actress zarine khan will be making an appearance for a song as well . the event is being planned and will take place in a gala manner in chennai .

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college paadam is old stock of boring college’y lyrics , set to middling music , but the composer joins his fiancé saindhavi for the breezy techno in yaar ivano – well sung and well - tuned ! simbu performs well in kalaaipom , a gangsta rap that sees many other local mixes to interesting effect . despite the catchy outlook , malgova is annoyingly outdated item material , but the soundtrack’s highlight is shalmali kholgade’s raja raja ! gv reserves a wonderful solo for her , with minimal , choice orchestration and she demolishes it with her awesome vocals ! satisfactory fare from gv prakash kumar , but raja raja is a complete knockout !

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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

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

singer , simbu , maya , sathish cast nakul chandini avani modi raaghav manivannan delhi ganesh mayilsamy a . venkatesh zarine khan ( item number ) vetrimaaran ( special appearance ) g . v . prakash kumar ( special appearance ) velraj ( special appearance )

yechacha yechacha - video song | c / o surya | sundeep , mehreen | suseenthiran | d . imman | telugu | hd

meendum oru kadhal kadhai - mai pottu video | g . v . prakash kumar

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the shoot of the film began on 12 december 2011 at mathivanan home in chinnalapatti . [ 3 ] based on a request from prithvi rajkumar , vetrimaaran directed the particular scene featuring nakul and also wrote the dialogues for the film . [ 4 ] [ 5 ]

the soundtrack , composed by g . v . prakash kumar , was released on 14 december 2012 at sathyam cinemas by ameer sultan and dhanush . apart from the cast and crew , vasanthabalan , gaurav , sivakarthikeyan , jithan ramesh , vanitha vijayakumar , sriman , dhananjayan were among those present . [ 6 ] urltoken rated the album 5 . 5 / 10 quoting " gv misses the bus " . [ 7 ]

this page was last edited on 31 may 2018 , at 07 : 40 .

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how nakul saves his love interest from danger is the crux of the story .

directed by debutant prithvi rajkumar , the film is apparently complete and ready for release . it is said that nakul plays a happy - go - lucky youngster whose life takes a turn after he falls in love . how he saves his love interest from danger is the crux of the story .

one of the highlights is that the dialogues are by national award - winning filmmaker vetrimaaran . the audio and trailer of

this page hosts previews of the latest upcoming tamil movies . it also indicates the expectation for that movie through a meter . people looking for film previews , movie previews , movie release date , movie censor certificate , movie release expectation , movie news , movie cast and crew , movie analysis will find this page useful .

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siva karthikeyan ' s ' ethir neechal ' and sundeep kishan ' s ' yaaruda mahesh ' are also slated for a release on april 26 .

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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visaranai ( english : interrogation ) is a 2015 indian tamil - language docudrama crime thriller film written and directed by vetrimaaran based on the novel lock up by m . chandrakumar . featuring dinesh , anandhi and aadukalam murugadoss in the lead roles , the film deals with police brutality , corruption , and loss of innocence in the face of injustice .

the film premiered in the orrizonti ( horizons ) section of the 72nd venice film festival , [ 1 ] where it won the amnesty international italia award . [ 2 ] the film was released in india on 5 february 2016 and received highly positive reviews from both critics and audience alike . [ 3 ] [ 4 ] many debates opened up regarding film in tamil nadu . [ 5 ] at the 63rd national film awards , the film won three honours : best feature film in tamil , best supporting actor for samuthirakani and best editing for kishore te .

pandi ( dinesh ravi ) , murugan ( aadukalam murugadoss ) , afzal ( silambarasan rathnasamy ) , kumar ( pradheesh raj ) are homeless tamil labourers who are working in andhra pradesh and living in parks and working to make ends meet . a tamil man muthuvel is shown to be undertaking some operation in andhra pradesh along with a group of men . the life of the four labourers takes a turn for worse when they are caught , beaten and tortured brutally in police lock - up for a theft they did not commit , due to police ' s need to close a robbery case they are dealing with . the four resist the torture and refuse to confess , but are forced to give - in due to the police brutality . however , when produced in court , they speak out the true set of events to the judge , who buys their story . they are also able to get release due to help from muthuvel ( samuthirakani ) , who is shown to be a policeman , and who helps the convicts go free by translating for them in court and vouching for them . before the men can leave , muthuvel enlists their help to kidnap a high profile accountant k . k ( kishore ) who has been handling the black money accounts of the opposition party . the men are brought back to tamil nadu , and kumar is dropped on the way .

the remaining three men are asked by muthuvel to clean the police station before leaving . a deeper plot behind the sequence of events leading to the kidnap unveils , and takes center stage . this kidnap was mastered by the assistant commissioner of police ( a . c . p ) , who has taken a bribe of 2 crores from the political party ruling the state , to use kishore in court and take down the opposition party in the state . meanwhile , the d . c . p . , who is on the payroll of the opposition party , convinces the a . c . p . to play a double game and get 3 crores ( 30 million ) rupees from the opposition party as well . however , buying the a . c . p ' s bluff , the opposition party fears that kishore gave up their secrets and orders the d . c . p . to interrogate him , during which he dies . the cops present at the scene and involved in this mess now brainstorm on how to cover it up .

after the discussion , the a . c . p catches pandi and afzal in an adjoining bathroom and suspect that they have overheard the cover - up plan by the syndicate of corrupt cops . the cops fearing being publicly exposed by pandi and his friends who have spoken out in court earlier , decide to frame pandi and his friends as wanted robbers in an existing a . t . m case , and eliminate them using the cover of a police encounter . muthuvel , who is fed up with the corruption and immorality of the events so far , is unwilling to cooperate with the other corrupt cops initially , but he is cornered by the others to cooperate since he is too deeply involved now . fearing muthuvel ' s betrayal , a plan is hatched to also eliminate him in the backdrop of the fake story of the police encounter . as a satire on the media and public being easily maneuvered away from the topic of justice , at the end the cops discuss that the issue of the fake encounters can be covered up by diverting the media and public ' s mind to focus on the death of muthuvel , and tapping into the public sympathy .

only the portion shown in andhra pradesh ( the first half ) is said to be real while the rest is fictional .

this page was last modified on 15 may 2016 , at 11 : 33 .

this article ' s content derived from wikipedia , the free encyclopedia ( see original source ) .

director arivazhagan literally led the proceedings at the first look launch of his latest film vallinam . the event took place at prasad labs in chennai and was attended by the cast and crew of the film including the film’s hero nakul and heroine mrudhula bhaskar . also present was the film’s music director ss thaman and special guest dhansika . director arivazhagan duly played the role of the mc and introduced the entire cast and crew to the gathering . he said that while his first film , eeram , was a supernatural thriller , his follow up vallinam will be entirely different . the film is supposedly a sports drama and will revolve around a basketball player’s life . the director seemed very confident about delivering a successful product once again after his debut film eeram gained critical acclaim as well . vallinam is being produced by aascar ravichandran and as a producer he seems to have left no stone unturned to ensure that the script’s demands have been met . the music of vallinam , composed by thaman , is expected to hit stores later this week .

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chauranga ( hindi चौरंगा ) is a 2016 hindi film .

it is the debut feature film of indian writer-director bikas ranjan mishra , produced by onir and sanjay suri .

the film was developed at the screenwriters ' lab organized by national film development corporation of india in collaboration with locarno film festival and the scriptstation of berlinale talent campus , a part of berlin international film festival .

the film won golden gateway of india award for best film ( india gold 2014 ) at the 16th mumbai film festival .

the film was released worldwide on 8 january 2016 .

chauranga

chauranga <EOT> urltoken has 700 , 000 + monthly visits . tell hyderabad what you feel about chauranga , and then also see all user reviews for chauranga !

urltoken » movies » review : chauranga is a good attempt but . . .

bikas ranjan mishra doesn ' t make the same mistake with his debut directorial film chauranga .

what lets down chauranga is its story , which starts and ends at the same point .

produced by onir , chauranga hits theatres on friday , january 8 . ( youtube grab )

chauranga movie going to release on next year january i . e . 8th january 2016 .

bikas speaks to pandolin about the genesis of chauranga and all that went into making the film .

chauranga is innocent yet vicious . it’s a must - watch for those who love their cinematic display ‘raw’ .

chauranga is said to be inspired by your village . tell us about it . any references drawn from reality ?

the trouble with ‘chauranga’ , despite its crucial subject , is that treads familiar ground without taking the tale too far .

watch chauranga because it is honest , provocative and piercing . it announces the advent of a promising new voice in mumbai

set in the dark hinterland of india where tradition and modernity collide precariously , chauranga is inspired by a real incident .

“chauranga” , directed by bikas ranjan mishra , was adjudged the best film and won the golden gateway of india trophy .

but chauranga deviates from the plot too quickly , and it is more like a documentary on the appalling condition of the dalits .

having said that , chauranga is still worth a watch because of its talented star cast and the brutal representation of rural india .

with a brilliant theme , a narrative structure that flows , and social relevance that hooks the viewer , chauranga makes for a powerful watch .

the 16th mumbai film festival came to a close on tuesday ( october 21 ) evening with films “court” , “chauranga” and “killa” bagging the top honours .

indian films court , chauranga and killa were the big winners at the close of the mumbai film festival ( mff ) , which wrapped on tuesday night .

chauranga is gripping and sometimes churns your insides . it’s unapologetic and startling as you realize that situations like these do ‘flourish’ in the hinterlands of our country .

had the makers of chauranga given their film a befitting end , even the documentary feel wouldn ' t have mattered . unfortunately , the end leaves you unsatisfied .

your upcoming film chauranga is the story of a teenager boy . tell us the journey of the film as it was conceptualised in 2012 but is releasing in theatres this week .

the win fetched 20000 usd for the filmmaker . this was followed by the goteborg international film festival fund , sweden , selecting chauranga for the script fund and awarding it 15000 usd .

the 16th mumbai film festival came to a close on tuesday ( october 21 ) evening with films " court " , " chauranga " and " killa " bagging the top honours .

chauranga is a good attempt at reminding us that india is still bound by caste and gender discrimination but it really does nothing more than that . and that ' s the biggest problem .

writer - director bikas ranjan mishra’s chauranga is so low - key that it comes across as an unfeeling drama even though the screen is , at all times , busy with multiple pressing concerns .

chauranga is neither provocative nor skillful in its portrayal . though its last scene ushers in a ray of hope to nullify the haunting gory glimpses from the film , it never soars high enough to affect you .

a constant focus on the atrocities faced by the marginalized makes chauranga a special film . it’s the process of finding a solution by magnifying the ugliness in a contemporary light that strikes a chord and marks mishra’s cinematic skills .

in the case of chauranga , the director also needs to explain why he has taken the trouble to cast the heroine of one of satyajit ray’s best - remembered films – swatilekha sengupta from ghare baire ( 1984 ) – and then squandered her away . for most of chauranga , the veteran’s face remains in the shadows , and i found myself squinting at the screen to be sure that it was indeed her i was seeing and not someone who looks like her .

pudr demands that this sponge iron factory not be allowed in chauranga , that various industries not be imposed on the people of chattisgarh contrary to their wishes and due process regarding environment laws and gram sabha consent be followed transparently and without coercion .

it can also be looked at in a different way . the hindu caste system is made of four varnas , the sanskrit word for caste . varna means caste as well as colour . so , chauranga is four colors but also four castes .

chauranga , directed by bikas ranjan mishra , won best film in the india gold competition . produced by onir and sanjay suri , the film tells the story of a young ‘dalit’ boy who dares to write a love letter to a girl from a higher caste .

but is it merely enough to hold a mirror ? i was hoping chauranga would express more outrage…that it might explore what happens when the oppressed challenge the status quo . that might be a film of our time . this , i’m afraid , we’ve seen before .

when i started writing my film , the process involved introspection . i questioned myself and started thinking about what makes me what i am . this took me back to where i come from – my village . chauranga is in many ways about my childhood and me .

chauranga is inspired from a real incident but my idea was not to reconstruct reality . i used a creative device – i re - situated the story in my own village and imagined it unfolding right there . so , many characters in the film are people i have seen and known in my childhood .

pudr is deeply concerned about the escalating situation in chauranga , near raipur , following the adamant insistence of the factory owner , supported by the administration , in starting work at the raipur sponge iron power ltd factory there , in blatant disregard of the longstanding opposition of the people of the village and the region .

the actor works closely with producer - director onir . their films my brother nikhil and i am received accolades in film festivals around the globe and now he is producing and acting in onir’s upcoming venture chauranga . set in a rural background , the story of a teenager boy has won several awards around the globe .

that caste remains one of the biggest scourges of modern - day india is worth repeating ad nauseam . and that is the burden of this debut feature from a director who knows where he is coming from . the trouble with ‘chauranga’ , despite its crucial subject , is that treads familiar ground without taking the tale too far .

over the years , mishra worked on getting chauranga made while running the website , which enjoyed a small - but - regular following , and freelancing for various publications as a cinema writer . meanwhile , he continues to work as an independent screen - writer ( he has penned a marathi indie coming out later this year ) .

‘chauranga’ is set in a village that is straight out of 1980s parallel cinema’s rural outposts of exploitation and misery . the village is ruled by the dictates and whims of dhaval ( sanjay suri ) , a landlord who has clearly seen better days but insists on slavish deference just like those uncrowned potentates from the films of three decades ago .

chauranga makes all the right noises about the dangers of a patriarchal society , sexual depravity among the religious class , and the need for education . but the film unfolds at such a languid pace , and its narrative is so disjointed ( censor cuts , were they ? ) you really have to fight yourself to stay invested in the story .

what happens when a 14 - year - old dalit boy writes a love letter to a 16 - year - old upper class girl who also happens to be the village strongman’s daughter ? through this young boy , filmmaker bikas ranjan mishra highlights the violence of class oppression that still exists in rural india in his widely applauded film , chauranga .

chauranga is a tirade that rants without deriving a solution to the problem it addresses . despite being a well - intentioned story about the many ' isms ' that plague india , the film’s narrative fails to explore the dynamics of hierarchy politics that is the heart of the issue . director bikas ranjan mishra seems too distracted in his storytelling , which makes the film half - baked . you are never allowed to invest whole - heartedly in the characters . in this case , the viewer is reduced to being a mere spectator who is never entirely absorbed or overwhelmed by what plays out on screen . atrocities on dalits in india is a subject that filmmakers have frequently attempted , but chauranga lacks an opinionated voice .

about four colors ( chauranga ) , the narrative jury stated : “the jury appreciated the way the film sensitively introduces the audience into a world of cast divided rural india that many of us are not familiar with . inspired by a real life incident , it develops portraits of credible , insightfully drawn and diverse characters that , as renoir said , ‘all have their reasons’ . ”

grand jury awards best feature : four colors ( chauranga ) , best actor ( tie ) : j . vignesh and ramesh for the crow’s egg best actress ( tie ) : kalki koechlin for margarita , with a straw and shweta tripathi for haraamkhor feature honorable mention for cinematography : labour of love best short film : dandekar makes a sandwich short film honorable mention : the rabbit ( khargosh )

chauranga , directed by debutant bikas mishra , holds a mirror to the ugly reality of the caste system…the violence and exploitation of the poor and the marginalized in a feudal society . evocative of the many ‘art’ films from the 70s and 80s that addressed the same malaise ( particularly shyam benegal ' s nishant and prakash jha’s damul ) , the film reveals how little has changed in all these years .

i met onir at the nfdc screenwriters’ lab in locarno . he liked the story and when he read the screenplay he decided to produce the film . onir and sanjay provided me the environment to make the film the way i wanted to . they handled the stressful part of filmmaking – producing , financing and gave me the resources and freedom to make chauranga , the way i had dreamt of it .

throughout 2007 , the owner made periodic attempts at starting work . each time , this was met by peaceful protest by the residents of chauranga . following a declaration by the owner , suresh agarwal , on 22 december 2007 that the setting up of the plant is eagerly awaited and that work would start soon , hundreds of people gathered in protest at the tehsil headquarters on 4 january 2008 . supported by the nadi ghati morcha , and residents of neighbouring villages , the people of chauranga have now decided to sit on an indefinite dharna to oppose the reopening of the factory . if the state wants peaceful methods of struggle to gain credibility , it ought to respect the demands of the people ' s struggles . responding to them through the dissonant language of repression only lends legitimacy to people taking law into their own hands .

there are moments where chauranga gives you the masaan feel , but lacks its poetry and depth . its women characters in this film are pitiable . be it the dalit woman dhaniya who has to satiate the zamindar ' s lust to win her sons a ticket to a better life or his own wife and daughter , who lurk around like shadows in his mansion , the women are all singularly uni - dimensional .

there appears to be no other explanation for these performances because , for instance , we know that when he is at his best , sanjay has the ability to pull at the heartstrings in a way that few others can . this , after all , is the man who played nikhil in the pathbreaking , soul - stirring , soul - searching 2005 hindi film my brother nikhil directed by onir , his co - producer on chauranga .

the only member of the cast who ekes some poignancy out of this lifeless film is arpita as the suffering wife . as for the children , riddhi as the older brother has evident potential , but who is to say for sure that the leading little man soham does not ? if the energy that the director achieves on screen in the last five minutes had permeated chauranga in its entirety , perhaps the boy would have delivered something more than his sweet face .

four colors ( chauranga ) , directed by bikas mishra , took home the grand jury prize for best feature , with best actress honors going to kalki koechlin for margarita , with a straw , and shweta tripathi for haraamkhor in a tie . the best actor prize , also a tie , was awarded to the young stars of the crow’s egg , brothers j . vignesh and ramesh . a special jury mention was made for the stunning cinematography of labour of love .

‘four colors’ ( chauranga ) , directed by bikas mishra , took home the grand jury prize for best feature , with best actress honors going to kalki koechlin for ‘margarita , with a sraw’ , and shweta tripathi for ‘haramkhor’ in a tie . the best actor prize , also a tie , was awarded to the young stars of ‘the crow’s egg , ’ brothers j . vignesh and ramesh . a special jury mention was made for the stunning cinematography of‘ labour of love . ’

the love angle , the anger of the protagonist may remind the viewers of the marathi film fandry and of one of the tracks in the hindi film masaan . but should the déjà vu undermine chauranga in any way ? not , when , even as the film gets released , you hear the horrific news of a dalit school boy in jodhpur beaten mercilessly by his teacher for mistakenly picking up a plate meant for his upper caste schoolmates . the caste narrative hasn’t quite lost relevance in india . not as yet .

why ‘fandry’ works so well is that the story propels us towards a shift , and the turmoil caused by it . ‘chauranga’ , on the other hand , peters out . the power that a tale like this brings with it , especially as portrayed by the fresh - faced youngsters ( maitra and sen feel as if they have sprung from the soil ; hiwale is effective as an upper caste bully ) , and the casual brutality inflicted with frightening entitlement in this day and age on humans , doesn’t have enough impact .

in the caste - class structure the most discriminated against are the women . be it santu’s mother dhaniya or the zamindar’s wife and daughter . in fact , chauranga is interesting in how it shows that a disadvantaged woman could use the exploitation to her own advantage , being more proactive than her mute upper caste counterparts . that , perhaps , is the only way out for her . so santu’s mother dhaniya ( tannishtha ) will play the sex game if it ensures that her sons can get educated and rise above their limiting situation in life .

as against a seething , fuming fandry , chauranga is a lot more muted and quiet in its rage . but the thread of protest runs through it nonetheless as santu retaliates against each bit of random violence heaped against him or his brother . but the one big act of santu’s dissent involving shiva’s bull , nandi , is as radical , drastic and revolutionary , if not more , than the stone flung at the audience in fandry . protest is all santu has as an empowering tool . and a ride on the train to a more just and equitable world . hopefully .

at the centre of chauranga is a rebel with a cause , an angry young dalit teenager santu ( sohum maitra ) who wants to seize what he feels he deserves — education and the love of a pretty young upper caste village girl . however , the hierarchies and status quo imposed by the staunchly caste - ist society of his village come in the way even as he closely watches the trains that whiz past his village , without ever stopping , because his village is not important enough for civilisation . is there a way out for him then beyond looking after his pig ?

since 2004 , the villagers of chauranga , supported by residents of at least 25 other villages in the region , had been voicing their protest , through occupying the factory site , barricading the village , filing police complaints , submitting memoranda to the district collector and police commissioner and passing resolutions in their gram sabhas against the project . their perseverance has succeeded in stalling the project work to date . however , chauranga reveals to us yet again how government and industry conspire to ram ‘development’ down people’s throats . the administration stepped in to help the owner start the factory with the assistance of police . protesters have repeatedly been beaten by police and faced arrests . in november 2004 , when villagers tried to prevent some people starting work on the site , two people were tragically killed in the resultant clash . as many as 33 people have been convicted of murder ; 23 of them are undergoing sentences of life imprisonment . these people cannot even challenge the sessions court’s verdict in the high court , as they are unable to afford the legal expenses . the government and factory owner are largely to blame for a situation in which two groups of poor are pitted against each other in what is otherwise a common struggle , one for survival and livelihood .

now , his readers as well as lovers of offbeat cinema will get a chance to see mishra’s love for the medium via another labour of love . his directorial debut chauranga arrives in theatres across the country today after a successful run at various international film festivals . in november 2014 , it had won the top prize for indian films at the 16th mumbai film festival , the golden gateway of india award ( india gold ) , beating out the much - praised marathi feature killa . later , in april 2015 , it won the grand jury prize ( best feature ) at the indian film festival of los angeles .

it is a man - made hellhole where a low - caste boy stands only a marginally better chance of survival than a hapless animal . a little later in chauranga , a harmless pig is mercilessly beaten to death by the sightless priest for showing up outside the latter’s home . neither the aforementioned human victim of hate nor the ill - fated pet pig is the fulcrum of this disturbing narrative about blighted lives , crushed dreams and unceremonious deaths . they are , however , symptomatic of how terribly wrong things are in this unnamed , culturally indeterminate village over which an upper caste brute wields untrammelled power . the story’s nebulous setting serves the purpose of underlining the universality of patriarchal and caste - driven violence in india’s rural badlands .

an uncompromising film about caste and sexual oppression in a small village in the chhota nagpur region of jhardkhand , chauranga has taken six years to go from an idea to a full - fledged feature that has been partly crowd - funded and partly funded by a number of entities . these include filmmaker onir ( whose company anticlock films is a co - producer ) , actor sanjay suri ( who also plays one of its leads ) , filmmaker sujoy ghosh , the government - run national film development corporation ( nfdc ) , and others . aside from that , it has also received cash grants from sweden’s göteborg film festival as well as the nfdc’s annual film bazaar , by way of an award for best project in the co - production market .

the story is about children but is not meant for kids . and while the story is set in a rural background , it has an urban taste . apart from producing it , i am also acting in it . i am playing father of an upper caste girl . initially , chauranga got a script development fund from sweden as it raised the socially sensitive topic of caste system which is prevalent in our society . then it got incredible india award from ministry of tourism in 2012 . nfdc got involved during the production stage . the film is partly shot in odisha and santiniketan , west bengal . it was best film in mami film festival in 2014 and in early 2015 it got grand jury best film prize at ifla film festival los angeles .

many players , clearly , have placed their faiths in mishra’s first ever feature - length film , which is entirely in an eastern dialect called khortha that borrows from hindi , bengali , and oriya . chauranga largely follows brothers santu and bajrangi ( soham maitra , its protagonist , and riddhi sen ) , belonging to a low caste , who rear pigs with their mother dhaniya ( tannishtha chatterjee ) ; it examines their relationship with the family headed by the cruel village alpha - land - owner dhaval ( suri ) and his daughter mona ( bengali tv actress ena saha ) , who also happens to be the object of santu’s affections . several criss - crossing story threads strive to highlight the realities of caste hierarchies in rural india , the ever - pervasive threat of violence , and the repressed sexuality that is also often hypocritical in its nature .

chauranga is a story of a 14 years old poor boy santu ( soham maitra ) who is growing in an unknown part of country india . he always dreams to go in a town’s school like his elder brother bajrangi ( riddhi sen ) . the story shows the life of people resides in dalit areas of india , the boy santu enjoys the most to escape a jamoon tree just to see mona ( ena saha ) who passing with her scooter . on another hand his mother who find herself really helpless in cleaning the cowshed from a strongman mansion to bring some essentials for her family she also has a secret connection with that man . when bajarangi comes to the village in his vacations he comes to know about his brother’s attraction towards mona he makes santu realize that he should speak mone about his love and help him to write a love letter .

the last time indian cinema dealt seriously with the shame of its much - abused caste system was in nagraj manjule ’s furious , extraordinary fandry , a call to revolution against the prejudice still leveled at the hindi dalit caste , a . k . a the untouchables . this anger is transformed into sorrowful , shocking tragedy in chauranga ( four colors ) which depicts the horrifying treatment given to two bright young brothers and their mother who are scorned and humiliated in their village because of their lowly birth . the setting may be timeless but the drama is all too contemporary ; in fact it’s based on a true story that happened in bihar in 2008 , here relocated to bengal where first time director bikas ranjan mishra grew up . the film took home the best film prize at its premiere in mumbai’s india gold section , forecasting a healthy festival life and the chance of some art house pick - ups .

awesome acting by ranbir and soonam as well . no doubt paresh rawal did his excellent role . . worth…

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los angeles , ca ( april 13 , 2015 ) – the 13th annual indian film festival of los angeles ( iffla ) concluded on sunday evening ( april 12 ) with a red carpet and gala fete that featured the u . s . premiere of nagesh kukunoor’s gorgeous tale dhanak ( rainbow ) and the presentation of the festival’s grand jury and audience choice awards .

this year the festival showcased 25 film features , documentaries , and shorts at arclight hollywood , home of iffla since its inception , including four world premieres , seven north american premieres , two u . s . premieres , and 10 los angeles premieres . the films hailed from six different countries , including the united states , united kingdom , france , cuba , and of course india , and featured 10 different languages , from hindi to marathi , to german to bengali .

the grand jury prize for best short was presented to dandekar makes a sandwich , directed by leena pendharker . an honorable mention was given to the rabbit ( khargosh ) , directed by sudarshan suresh .

regarding the short film awards , the jury stated : “we would like to present the grand jury prize for best short to dandekar makes a sandwich by leena pendharker , for immediately immersing us in the playful world of this complex and layered character , delivered with an impressive comedic sensibility . we also present a special mention to the the rabbit , for a moving and memorable debut film by sudarshan suresh . ”

the 2015 narrative film jurors were : director sean baker ( take out , prince of broadway , starlet , tangerine ) ; actor / producer abhay deol ( zindagi na milegi dobara , dev . d , and road movie ) , long time member and frequent board director of the hollywood foreign press association ( hfpa ) yoram kahana ; author and film curator berenice reynaud ( n ouvelles chines , a city of sadness ) , and ravi mehta , executive vice president of physical production for warner bros . pictures . judging the short films were star of nbc’s hit show “community” danny pudi , producer and outfest director of programming lucy mukerjee - brown , shorts programmer at sundance film festival lisa ogdie , and heather morris washington , manager of the emerging writers fellowship at universal pictures .

about iffla now in its 13th year , the indian film festival of los angeles ( iffla ) is a nonprofit organization devoted to a greater appreciation of indian cinema and culture by showcasing films , honoring entertainment industry business executives , and promoting the diverse perspectives of the indian diaspora .

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is creating waves internationally getting support of various film and script funding agencies around the globe .

and onir are producing the film . it recently won the ' incredible india ' award at the co - production marker of the nfdc ' s film bazaar at goa , pipping projects of big names like dibakar banerjee and ketan mehta .

onir and sanjay are also in talks with the german production house pong for a co - production arrangement . they are expecting the jharkhand govt to support the project as well . the film is set in jharkhand and the shooting begins in april - may next year . bikas wants to capture the essence of jharkhand ' s summer . he hails from the region and has recently made a short film titled naach ganesh that was in busan international film festival and rotterdamn international film festival selection . it ' s the story of a chau dancer from jharkhand .

( rajesh kumar singh is editorial consultant for festivals and markets for bollywoodtrade . com . he is a filmmaker , critic and market analyst )

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chaitanya tamhane’s court won best film and best director in mff’s international competition for first and second - time filmmakers , along with a special jury mention for the ensemble cast . the film , produced by vivek gomber , also recently won best film in the orizzonti section at the venice film festival .

the jury for this section , headed by uk director peter webber , gave the jury grand prize to mexican film gueros , directed by alonso ruizpalacios ( see full list of winners below ) .

avinash arun’s killa , about a young boy’s problems settling into a new school , was also a big winner in this section , taking prizes for second best film and a special jury award for ensemble cast . the india gold jury was headed by serbian filmmaker goran paskaljevic .

the festival celebrated a successful 16th edition , despite its difficulties in raising funding – it eventually went ahead with donations from local industrialists , filmmakers , audience members and stars . screenings at this year’s three venues – pvr andheri , cinemax versova and the historical chandan theatre – were as packed as usual , highlighting the local audience’s fervent support of the event .

in contrast to previous years , bollywood also threw its weight behind the festival , with stars and big - name directors turning up for the opening and closing ceremonies and a series of ‘film companion’ talks to introduce their favourite films . stars at the closing included aamir khan , madhuri dixit , parineeti chopra and anushka sharma .

mff director srinivasan narayanan expressed his gratitude at the closing ceremony : “for us at mami , the almighty appeared in several forms – anand mahindra , manish mundra , rohit khattar , neeraj bajaj , kiran rao , vinod chopra , anupama chopra and the list is long . thank you all for making possible what appeared to be mission impossible 45 days back . ”

local journalist and critic anupama chopra , who was recently appointed mff creative director , was instrumental in raising bollywood’s support for the festival , which in turn helped bring in sponsors . “there’s so much more we can do – we only had five weeks of pre - production , apart from the programming which happened before , so given that , we haven’t done too badly , ” chopra told screen . anu rangachar heads programming for the festival .

however , the festival organisers say they’re well aware they can’t rely on stars and crowdfunding to finance the festival in future years . “you have to lock in two or three sponsors who create a long - term relationship with the festival , and then have ideas on how to grow it and work with it – you need a five - year plan , otherwise you can’t really do it . but i’m optimistic about that , ” chopra said .

she added : “yesterday i saw an old maharashtrian couple [ from the indian state of maharashtra ] watching a japanese film , and moments like that give me hope for the future . ”

the event confirmed on twitter that it will take place from tuesday 14 to saturday 25 may 2019 .

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this film’s lack of emotional pull is inexplicable at one level because the story covers issues that would tug at the heart of any individual with an iota of conscience and sensitivity . in a village in north india lives a little dalit boy called santu ( soham maitra ) who longs for an education . his elder brother bajrangi ( riddhi sen ) is studying at a boarding school in the city . santu , on the other hand , spends his days gazing down from a treetop at a pretty girl ( ena saha ) passing by on her two - wheeler , on her way from school to home .

santu is unmindful of the dangers of his crush on an upper - caste girl . meanwhile , his mother dhaniya ( tannishtha chatterjee ) is having a clandestine affair with the girl’s father , the local strongman dhaval ( sanjay suri ) .

also in this potent mix written by bikas are dhaval’s hapless wife nidhi ( arpita pal chatterjee ) , his clueless mother ( swatilekha sengupta ) and a creepy priest ( dhritiman chatterjee ) with a sexual penchant for little girls and beasts . the plot is crying out to be felt . the fact that it fails to move has to be attributed to bikas’ direction and the central casting .

it is one thing to portray the casualness with which caste is practised , lived and accepted in this setting , but quite another to not flinch while doing so . when a couple of high - caste boys coolly throw a dalit kid into a well to punish him for straying into a temple , it should have been a chilling moment . a man’s hand over a woman’s mouth while they have sex in a haystack , to prevent her orgasmic moans from reaching the world , is a brilliant metaphor for the gagging of women and dalits . yet , in both instances , the actors involved are expressionless to the point of being unnaturally so . it is as if the director instructed them to freeze their faces to convey depth .

the casting of the female protagonist though is the film’s biggest mistake . tannishtha may well be a regular on the festival circuit but the harsh truth is that she does not have a strong screen presence and there has been a tiring sameness to her performances in all her recent films . she has had the good fortune of bagging a string of strong roles in her career , but her idea of what some people might call minimalist acting is boring beyond a point . the last time i remember being genuinely moved by her on screen was over a decade back in florian gallenberger’s bengali language german production shadows of time , and then too , now that i look back , i realise it was the powerful story and tragic role that got to me , not her performance .

at the end of the film , i found myself dying to know how onir would have directed this film with a slightly tweaked cast . this is , after all , a story that desperately needs to be told . it just needs to be told better .

debutant director bikas mishra provides us a view of the social microcosm of rural bihar , a world divided between the haves and the have - nots , between the privileged and the disadvantaged , between the landowners and landless labourers . it’s a world where zamindari has been abolished and yet not quite , where they have the upper hand as a matter of entitlement . it’s a world where the lower caste has to go through daily discrimination and humiliation and exploitation of women , whatever caste they may belong to , is a given . the myriad characters don’t just exist as individuals but have a larger role to play — to bring alive the social fabric and its dynamics and powerplay . mishra tries to weave in little details — the all nighter with films , the salman khan and ‘munni badnaam hui’ obsession , the school being used as a janvasa ( guest house for the groom’s family ) for the principal’s daughter’s wedding , the whole ritual of touching and washing of feet of the upper caste . it’s a world that may feel lost in time to urban india but is it ?

santu and bajrangi ( maitra and sen , respectively ) are constantly castigated as ‘chhut jaat’ in the village they live in with their mother ( tannishtha ) . the zamindar ( suri ) lives with his neglected wife , elderly mother and young daughter in a run - down ‘haveli’ , and rules with an iron hand - velvet glove policy : lower - castes are to be used , discarded and decimated , whether it is an attractive village woman who over - reaches herself , or a little boy who strays inadvertently into a ` mandir’ , sullying it . of paramount importance is the ` shuddhikaran’ ( purification ) of the temple , rather than the boy who is injured in the flurry .

there’s also a blind priest ( dhritiman ) who stirs the pot every now and then . and trouble is bound to arise when the unspoken adoration of santu for an upper - caste girl is rumbled , a plot point startlingly similar to the marathi film , ‘fandry’ , which is also about caste and societal rigidities and how conflict arises when the downtrodden turn around and demand a shift .

i liked the way the two dalit adolescents keep up their spirits : no excessive drama , no whining . they know their place , and though both react to the oppression differently ( one with a kind of acceptance , the other with a flash of rebellion ) , both come off as naturals . there’s something about the priest which makes you shiver , especially when he pats his pet goat : an intriguing character you wish there was more of .

what’s missing in between is a fluid narrative , which hobbles the film . or is the choppiness down to cuts ? either way , this is a film which could have been more .

shab first look : raveena tandon next looks deep , dark and intriguing . see pic

shubhra gupta shubhra gupta is film critic and senior columnist with the indian expr . . . read more

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in an unnamed village in north india , a young dalit boy santu ( soham maitra ) bides his time watching trains pass by when he isn’t herding his family pig , or spying lovingly on mona ( ena saha ) , the daughter of the all - powerful landlord dhaval ( sanjay suri ) . santu , as you can see , has a rebellious streak in him , unlike his submissive elder brother bajrangi ( riddhi sen ) who dutifully pays obeisance to the landlord and puts up with routine beatings from upper caste bullies .

one of the more interesting characters in the film is the boys’ mother dhaniya ( tannishtha chatterjee ) , who works for the landlord and is having an illicit relationship with him . although clearly a victim of exploitation , dhaniya uses her sexuality to help negotiate a better life for her sons . her character is in sharp contrast to the landlord’s own wife ( arpita chatterjee ) , who is resigned to suffer silently and do his bidding . there’s also a lecherous blind village priest ( dhritiman chatterjee ) , the very embodiment of evil in religious robes .

against this landscape of entitlement , oppression and violence , mishra offers the possibility of a love story . bajrangi , when he learns of santu’s crush on the landlord’s daughter , offers to write a love letter on his behalf . the result , as you may have guessed , is catastrophic .

life is cheap in these parts , and that point is illustrated effectively in a scene in which an outcaste boy falls into the temple well . the landlord , concerned only with purifying the water in the well , spares no thought for the fatally injured boy who may not make it .

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. . . it is more like a documentary on the appalling condition of the dalits , feels namrata thakker .

unfortunately , it barely delved into the subject , and left me quite disappointed .

mishra sheds light on how dalits are treated as untouchables even today and how cast and gender discrimination still rules rural india .

yes , we are all aware of these societal problems but as onir ( the film ' s producer ) tells us , in the world of multiplexes and malls , we have forgotten the other india . and rightly so .

certain scenes will make you uncomfortable and give you goosebumps . and even though the film is relatively slow , the first half is engaging , thanks to the well - defined characters .

onir tells us that the film was a 14 - year - old dalit boy , who falls in love with an upper caste girl and writes his first love letter .

dhaval ( sanjay suri ) is a local strongman who indirectly rules the village and believes lower caste people have no rights . ironically , he is physically involved with a dalit woman named dhaniya ( tannishtha chatterjee ) .

while dhaval seems to be in love with dhaniya , the truth is he isn ' t .

dhaniya , on the other hand , uses her sexual relationship to fund her son bajrangi ' s ( riddhi sen ) education .

she wants to educate her younger son ( soham maitra ) as well but he falls in love with dhaval ' s adolescent daughter mona ( ena saha ) .

then there is dhaval ' s docile wife ( arpita pal ) , who is shown as a victim of superstitions . she knows about her husband ' s wandering ways but is a mute spectator because women don ' t have a say in anything , even if they belong to the upper caste .

dhritiman chatterjee plays the perverted blind priest and his character made me feel the most uncomfortable .

while all actors play their parts nicely , soham maitra and riddhi sen steal the show . their brotherly equation has been captured beautifully and they light up the screen every single time .

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teenager bajrangi ( riddhi sen ) knows his place in the hierarchy ( at dhaval’s feet ) but his younger brother santu ( soham maitra ) is far more resentful . he chafes against dhaval’s stranglehold and has the temerity to fall in love with dhaval’s daughter , mona ( ena saha ) .

it is about a dalit boy , who strays into the vicinity of a village shrine . two minions of the local landlord spot him , chase him and push him into a well . when news of the incident reaches the callous zamindar , he spares no thought for the badly wounded outcaste . instead , prompted by the temple priest , he frets over the need to purify the water in the well . his priorities are shockingly clear .

this is the abhorrent social cesspool in which first - time writer - director bikas ranjan mishra situates his stark , searing story of caste violence and religious orthodoxy .

while india’s ancient caste system originally referred to interlocking professions working for the good of society , it is now an inherited system of social exclusion based on birth . at its worst , as shown here , it is conveniently used to isolate a group of people as miserably underpaid servants , forced to do the dirtiest work and forbidden even to set foot in the temple because they are “unclean” . when the mayor is short on food for a festivity , he simply cuts off the bottom - rungers . there’s an eerie parallel to slavery in the american south when the local landowner claims sexual rights over his untouchable , unmarried and apparently compliant maid - servant dhaniya ( tannishtah chatterjee ) . their dangerous , secret rolls in the hayloft have likely begotten two sons .

the rebellious santu ( soham maitra ) is 14 and wants to go to school , but he refuses to humbly touch the feet of his mother’s benefactor dhaval , played with controlled arrogance by actor - producer sanjay suri ( my brother…nikhil . ) however , santu’s slightly older brother bajrangi ( riddhi sen ) does kowtow to this powerful figure , and goes to school .

the brothers have a touching relationship of mutual protection and together they confront a pair older bullies who turn out to be dhaval’s legitimate heirs . in a generally nuanced film , these are ugly characters , mean and totally evil . taking their cue from their elders , they express their sadistic impulses on the more malleable bajrangi , while little santu defies them . every day he climbs a tree to spy on dhaval’s daughter returning home from school on her scooter , and his innocent crush will trigger the tragedy that ends the film on a dark , anguishing note .