As a manufacturer, madhu mantena has an impeccable music record of creative and commercial success.
Ghajini (2008): the first 100-crore success of indian cinema. ghajini, directed by A.R. Murugadoss, is not for the squeamish. The violence is extended, sadistic, and frequently completed with the complicated abundance and 32012fd371b2d8bbf6e5e631dc96cdaf elan of a staged opera (Ravi Chandran's camerawork glistens and bristles with top-of-the-line optical glory). And, but, women within the audience seemed to like the film. ghajini is, at heart, a love tale of a cocooned tycoon who discovers love in an operating-elegance environment. Aamir Khan's expressions of misunderstanding, curiosity, satisfaction, and popularity in Asin's organization remind you of a toddler; it really is simply located mom-love.
Rakht Charitra (2010): Marking the hindi debut of tamil celebrity Suriya, that is another violent, however stunning, examination of human avarice. The violence right here might be taken into consideration as overpowering in some other context. Not right here. Now, not this time. Violent anxiety is the crux and the core spirit of Rakht Charitra, launched in parts. You can not get rid of the arms from the person unless it's one of these aforementioned limb-choppers at work once more. Returning to a territory that ramu knows with the aid of coronary heart (if heart is the distance you can point out in this film's greater-aggressive context), the director has common a bludgeoning homage to Coppola's The Godfather. This is the Sicilian Mafia transposed with frenetic fluency into the semi-rural Andhra milieu in which the caste device fosters the maximum barbaric acts of violence that man has ever conceived. varma would not recoil from the sight of unmitigated brutality. Regularly, you marvel if the dark recesses of the subconscious that varma manifests are truly the spaces that the director enjoys peering into. But then, whilst you look nearer into the eyes of his ravaged and ravaging characters, you spot profound regret and worry barely discernible to the naked eye.
Masaan (2015): Arguably the most exceptional film madhu mantena has produced and also the greatest cinematic exposition of the caste machine since Bimal Roy's Sujata, Neeraj Ghaywan's directorial debut in Masaan is fantastic on many counts. The film, set in Varanasi, is as formidable as it is able to get. There are two wonderful tales about approximately thwarted love and two bereaved souls floating down the ganga to satisfy and converge in the end. Extremely bold and epic in scope, the film was made at an anticipated price range of Rs five crores. Violence need not be best approximated by physical pressure. Brutality can take many forms. Masaan, an extremely good look at brutal injustice and coercive subjugation of feelings and bodily dreams, suggests to us the various faces of violence in a social order based totally on inequality. Masaan is a current cutting-edge delusion of failure and redemption now not accomplished in that pretentious 'eu' tone that made, say, The Lunchbox so endearing to the West. Neeraj Ghaywan risks dropping out on a 'European' target market to remain proper to his characters. Violence, when internalized, can be shattering.
Queen (2013): Kangana's quintessential recreation-converting film. queen didn't simply exchange kangana Ranaut's profession; it additionally changed the woman's gaze in mainstream hindi cinema forever. Made on a shoestring budget, the Vikas Bahl-directed film turned into a shot inside the most highly priced cities of the arena, such as Paris. kangana needed to regularly change her garments in restrooms. However, she had no regrets. Inside the year of the notably forgettable Rajjo and the frightfully campy Revolver Rani, kangana sprang into superstardom in Queen. As the bride-to-be ditched on the altar who goes on her honeymoon solo, kangana sailed through the position of the clumsy hero with the self-guarantee of a diva. queen modified everything. Kangana's fortunes. And the way audiences checked out female heroes. Hereafter, heroines have no longer been checked out as epitomes of flawlessness and perfection. Broken, awkward, and dithering heroines who were given alcohol and danced on bar tops to raunchy asha bhosle numbers have been additionally welcomed inside the hall of femme fatales. Frothy and ebullient, queen absolutely is. However, there is plenty more.
Udta punjab (2016): Who thinks of this type of story to tell?! simplest mind, this is either supremely screwed-up or stunningly sorted. madhu mantena has never balked at taking risks. Udta punjab, directed by the amazing abhishek Chaubey, is a work of current art so audaciously unprecedented in its imaginative and prescient execution of a topic that is topical and timeless, you wonder if Bollywood, as we love and hate it, is ultimately growing up. Alternatively, lest we forget, filmmakers from beyond, like Bimal Roy, Guru Dutt, and Gulzar, continuously prodded and drove mainstream hindi cinema into regions of darkness, now not terrified of the unlit interiors of the human heart. madhu mantena and abhishek Chaubey take forward to an altogether new excess the politically empowered human drama of Bimal Roy's Do Bigha Zameen (the migrant's plight in the town, as played out by means of alia Bhatt's man or woman) and Gulzar's Maachis (Punjab, bloodied, battered, and wounded, no more romanticized).
click and follow Indiaherald WhatsApp channel