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Mumbai: Shekhar Suman feels that unlike his son Adhyayan, he had entered Bollywood at the 'wrong time'. So is it some kind of remorse that is playing on his mind as he is seeing his son slowly climb up the ladder in Tinsel Town?

Shekhar Suman takes a look back at his career and tries to find out what went wrong when he made his Bollywood debut in 1984."Kind of, you may say. I can see my son slowly finding his feet in Bollywood and it forces me to think what went wrong when I made my debut in Utsav (1984). My entry was grossly mistimed. Other than the fact that my debut vehicle got delayed for two years because of Jennifer's (Shashi Kapoor's wife) death, it was definitely not a time for newcomers. The old guard hadn't vacated their seat at that time and new heroes hadn't yet found their feet. Whatever be the reason, I don't have any qualms in saying that unlike my son, I was a failure on the big screen. His failures are nothing compared to mine," says Shekhar.
Shekhar also doesn't see Adhyayan appearing on television though he himself was quite successful in the TV soap Dekh Bhai Dekh. "Though there's nothing wrong in TV, I don't see him appearing in a soap for sure. For a long time, I was completely averse to doing soaps on television and was convinced that people will say, 'Look, a failure from the big screen has come to TV'. But the success of Dekh Bhai Dekh changed the whole course of my career."
Shekhar is also 'shocked' by the amount of newcomers making their debut on television these days and then getting lost in the clutter in a few months. "You see a good face on TV and a couple of months later it's gone. They become one-serial-wonders. At times, some actors don't get due recognition even after doing good work. I just hope that things will change in the television industry," he said.

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Saarai Veerraju Movie Review

The Cast and Crew
Ajay,Madhulika, Ramya Nambushan and others
Music : Sree Sai
Cinematography : Vishwa
Art : Satya
Editor : Kotagiri Venkateshwara Rao
Action : Ram Laxman
Producer : P.R.K.Rao
Director : D.S.Kannan
The Rating
1.5 out of 5

The Film
Sarai Veerraju is a routine mainstream revenge film.
The Synopsis
Saarai Veerraju Telugu Movie Review
Veerraju (Ajay) and Dhana Lakshmi (Ramya Nambushan) are orphans and grow up together in a village. Vishnu, Tambi Dorai, Ramanath, Narayana and Raghupathi operate a chit fund company and cheat Veerraju. They also rape Dhana Lakshmi and kill her. All this is shown in a flashback.

The film opens with Ajay preparing to go to Dubai. He goes there and kills Vishnu. While coming back, he meets airhostess Preethi (Madhulika), falls in love with her and stays in her house in Hyderabad. The rest of the story deals with how Veerraju kills the remaining four villains.

The Performances
With no scope for any drama and a weak storyline, Ajay did not have much of
Saarai Veerraju Telugu Movie Review
an opportunity to showcase his acting talent. Ditto for Ramya and Madhulika. The less said about the others, the better.
The Techniques
DS Kannan, an erstwhile associate of Puri Jagannath tried to present stylishly a weak story and a routine theme of revenge. The technical values are good but the poor screenplay is a big minus for the film. Music is average.
Saarai Veerraju Telugu Movie Review
The Verdict
Better leave Sarai Veerraju alone without you giving any company in any theatre.

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Neseli hayat Turkish Movie

Genre:Comedy

Cast: Ayberk Atilla:Cezmi Baskin:Sinan Bengier:Ibrahim Büyükak
Release date:27 November 2009
Director:Yilmaz Erdogan
Writer:Ibrahim Büyükak (writer)Yilmaz Erdogan (writer)
Music: Shuhei Murai, Minako Obata

Neseli hayat Turkish Movie Reviews

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OceanWorld 3D (Oceans 3D: Into the Deep) English Movie
Genre:Documentary
Cast: Jean-Jacques Mantello, Jean-Michel Cousteau
Directed by:Howard Hall
Music by: Danny Elfman, Deborah Lurie
Produced by: Toni Myers, Michele Hall
Release date:18 November 2009

OceanWorld 3D (Oceans 3D: Into the Deep) English Movie Reviews

Deep Sea 3D is an extremely colourful and briskly paced film ostensibly meant to address the plight of deep sea creatures threatened by nasty ocean floor trawling by commercial fishers, but really it’s more of a watery travelogue with a familiar mix of cute underwater creatures, chomping carnivores, and weird organisms seemingly inspired by sci-fi pulp novels and imaginative CGI artists.

The bizarre jellyfish, like every creature in the film, are quite real, and Howard Hall’s cinematography captured some very candid behavioural moments from barracuda, shark, Right whales, and three stages within the oceanic food chain - small fish eaten by medium fish eaten by bigger fish.

Even though Warner Bros.’ DVD contains flat 16×9 widescreen and full screen versions, the transfers are sufficiently vivid to impress what elements originally drifted towards audiences in 3D.

The down side of the DVD transfer is that to accommodate the two flat versions (the 16×9 has more side room, whereas the 1:33:1 clips the sides in favour of more top/bottom space) as well as trailers, the video compression runs high, so many low-light scenes are affected by weak grey, dark blue, and black levels, noticeably in the sequences where coral spawn after dusk, the manta ray feeding frenzy, and the squid munching on fish & taking pokes at the IMAX camera.

The sound mix is vivid, but where the film runs into problems is the finale – the message of people being part of the ocean world feels tacked on and facile – and the narration, which has been split up between Johnny Depp (who’s fine), and Kate Winslet (who sounds like a snotty school teacher, carefully enunciating works like “sym-bi-o-sis,” as though the audience had suffered a bit of pre-screening head trauma). Efforts at humour are variable, and one gets a sense the dual stars were brought in to give the film some box office boosting instead of fulfilling the movie’s creative needs.

The reworking of Danny Elfman’s “Serenada Schizophrana” and Deborah Lurie’s bridge material works, but the film score runs into trouble when Elfman’s patented shoulder-shaking chorals are overused, and inevitably takes attention away from the movie.

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Mid-August Lunch hollywood: movie:

Genre:Comedy | Drama
Writers Gianni Di Gregorio (story) &Simone Riccardini
Director::Gianni Di Gregorio
Release Date:18 November 2009
Cast: Gianni Di Gregorio, Valeria De Franciscis, Marina Cacciotti, Maria Calì, Grazia Cesarini Sforza, Alfonso Santagata, Luigi Marchetti, Marcello Ottolenghi, Petre Rosu

Mid-August Lunch hollywood movie Reviews
Gianni is a middle-aged man living in Rome with his imposing and demanding elderly mother
I recently had the pleasure and privilege of presenting a prize for the best first film shown in the 2008 London film festival to Gianni Di Gregorio. It was a pleasure because I greatly admire his gentle, perceptive comedy Mid-August Lunch (aka Pranzo di Ferragosto), and a privilege because the prize is presented by the Satyajit Ray Foundation in memory of the director I revere beyond all others. The Satyajit Ray Award has been given every year since 1996 to a film “which best captures the artistry expressed in Ray’s own vision” and Di Gregorio could not have been a more appropriate recipient.
Almost 60 years ago, early in 1950, the newly married Ray, then working for an advertising agency in Calcutta, made his first visit to Europe to spend some months at the parent company’s headquarters in London. “Within three days of arriving in London, I saw De Sica’s Bicycle Thieves,” he later wrote. “I knew immediately that if I ever made Pather Panchali – and the idea had been at the back of my mind for some time – I would make it in the same way, using natural locations and unknown actors.”
On his return home, he wrote an article on “Some Italian Films I Have Seen” for the Indian Film Society Bulletin, which concluded: “For a popular medium, the best kind of inspiration should derive from life and its roots in it. No amount of technical polish can make up for artificiality of theme and dishonesty of treatment. The Indian film-maker must turn to life, to reality. De Sica and not DeMille should be his ideal.”
The 60-year-old Di Gregorio is best known to us as the screenwriter on Gomorrah, Matteo Garrone’s expansive, multilayered film about the terrible hold that organised crime has on Naples. His directorial debut, which Garrone has produced, is on a quite different scale. Partly autobiographical, shot entirely on location (mostly in Di Gregorio’s old family apartment) with a non-professional cast for a budget of under £430,000, Mid-August Lunch seems to meet all of Ray’s requirements.

Ray, I think, would have admired the film for its humanity, its concern for family and the elderly and for the way Di Gregorio suffers fools gladly. In addition to writing and directing, Di Gregorio plays the central character, also called Gianni, a bachelor in his late 50s, unemployed because he’s the full-time carer for his 90-year-old widowed mother.
They live in a well-furnished, somewhat shabby fourth-floor flat in the charming old Roman district of Trastevere. Inside, it’s dark, outside blindingly bright, and the time is the height of summer on the eve of Ferragosto. That’s the annual celebration on 15 August of the ascension of the Virgin Mary into Heaven and it empties the city. Older moviegoers will recall Luciano Emmer’s Sunday in August, an art house staple of the early 50s in which Marcello Mastroianni made one of his earliest screen appearances as a young cop in a white uniform patrolling the empty streets of a shimmering Rome.
Gianni is cash-strapped, slightly depressed, but cheerful in the company of his cantankerous mother (to whom he’s reading The Three Musketeers), his raffish chum, Viking, and the storekeeper who gives him wine on tick. In a very amusing confrontation with Alfredo, the accountant who administers the apartment block, Gianni is persuaded to take in Alfredo’s mother for Ferragosto in exchange for the postponement of rent arrears and utility bills, being relieved of his contribution to essential repairs and, the cherry on the cake, given a key to the shared lift.
When Alfredo delivers his mother, Marina, he also drops off his even older aunt, Maria, whose kids have gone elsewhere for the holidays. Looking down at Alfredo’s convertible parked in the street below, Gianni sees that the accountant’s companion for a supposed trip to a health resort is a lissom young blonde, the one little gesture towards Berlusconi’s Italy.
As Gianni goes about his three principal activities – smoking, drinking and cooking, often simultaneously – his doctor turns up and, after examining both son and mother, makes an offer that due to the accompanying financial inducement can’t be refused. So Gianni agrees to extend his hospitality to the doctor’s elderly mother, Grazia, who arrives with a list of dietary requirements and pills that would challenge a trained nurse. At this point, as Gianni deals with the elderly widows, all demanding in different ways, in a cramped flat, the film resembles the cabin sequence in A Night at the Opera, but is played as polite comedy instead of farce.
Initially tensions build up. Gianni’s mother wants to be alone. Maria attempts to take over in the kitchen. Grazia takes forbidden macaroni casserole from the fridge at night. Marina, after locking herself in her room, slips out of the house to a nearby trattoria. But Gianni, considerate as ever, smooths things over, settles disputes over the TV, resists a drunken Marina’s attempts at seduction. Then the women start to bond, reading palms, discussing their lives and loves. The atmosphere becomes joyful and Gianni takes a back seat.
It’s a wonderfully patient, delicately observed film; warm, generous, never for a moment sentimental or patronising, never exploiting dottiness and eccentricity. The performances of the old ladies are pitch-perfect and by the end, Di Gregorio’s casting of himself as Gianni seems both essential and inevitable. The final credits are accompanied by what looks like home movie footage of an improvised dance and, thinking about it afterwards, one can’t be sure whether this is the host dancing with his mother and their guests or the director celebrating with his cast at a wrap party.

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