Kaalaya Tasmai Namaha

SuperGoodMovies Review

STORY –

‘Kalaya Thasmai Namaha’ is the famous statement in Sanskrit that describes time will decide everything is symbolically used for the life of hero and heroine in this film.

Destiny in store no one knows. As for as possible the safe life is very important – falling in love is easy but forming a life after that is difficult. Love in the teenage is the most dangerous thing in this world.

The whole film is based on the above observations of the director. Madhu (Madhubala) from an orthodox family falls in love with No.10 (Yogesh). She is at the tender age of 17 years. She does not study whereabouts of No.10. After falling in love and walking away with him she realizes that she has done a great mistake in life. After coming out from home she is absolutely unhappy. Kept in the hospital for the time being that is surrounded by seriously ill people. She feels very sorry for falling in love.

Why No.10 does like that? That is because he goes against to the advice of his boss Rangayana Raghu. Love is not the factor for people in nefarious activities – advice does not reach him. No.10 does not care. He comes to Bangalore from Mysore looking for job. Out of desperation he takes up a killing of a boy in the college. Further trouble in the life of No.10 develops.

No.10 decides to leave Madhu to her father place and say good bye to love. That is not an easy task. No.10 and three friends are now in the eyes of Police and underworld don of Bangalore Ravi Kaale.

No.10 and his three friends are killed in the shootout and Madhu goes back to her house.

ANALYSIS –

The film is lengthy and scenes are lengthier. In his second film director Chandrasekhar Srivatsav is good in some places. He consumes lot of time to say what his seniors have told from mid 90’s in Kannada cinema.

This film major drawback is the length. There are of course some delectable scenes and shots from the director. That is not enough to keep the interest of the audience going.

Those who are in underworld touch have no fruitful life. Underworld activity personalities should not fall in love – has become an obsolete theme for the Kannada audiences. They are fed up of watch same subjects. In this ‘KTN’ director Chandrasekhar Srivatsav consumes time and drags the scenes.

In the first half of the film a few killings and love blossoming with a few songs and second half is killing field added with sad end with lack of novelty in presentation.

The film in the cinematography, acting and music is a winner. The composed style of narration and songs quite often lifts the film but lack of good comedy in the film is once again strong pain in this two and half hour cinema.

Like almost all the senior colleagues this director Chandrasekhar Srivatsav concludes the same end for underworld boy falling in love. The thought of beyond that is the need of the hour. Making the life cozier and easier for underworld boys with different approach is what is expected.

In case it is love element for the underworld connected is it not possible to give a sophisticated and smooth touch?

PERFORMANCES –

Kannada filmdom has got a new heroine in Madhubala. She has left a strong note that she has come here to stay. In the debut film the dialogues coming to her help and maturity and variety in the role gives her a good standing in the days to come. She looks very sweet and just blossomed flower on screen.

For Yogesh collecting tears in the second half is not expected by his fans. Yogesh is a popular hero today and the scale of his roles and image building should happen for a long stay. He is made under dog. In this 21st century of cinema the hero upgrade from previous film is very important. This is not happened for Yogesh.

Rangayana Raghu from the comedy dose in his role has diverted to a serious role. That is once again a minus point of the film. Shanker Ashwath reminds his father Dr KS Ashwath at some places. His cool and composed performance is admirable. Ravi Kaale dubbing Kannada is difficult to hear. Veteran director Tiptur Raghu son Naveen is impressive in his debut.

TECHNICALITY –

Two major draws of this film are cinematography and music. Cameraman Cine Tech Soori at half a dozen places steals the hearts from his positioning of the camera. The low angle and top angle of Soori reminds in the memory.

AM Neel has given his best in ‘KTN’ – the song sung by Yogesh Khali Rodu…Onti Girlu…is for fans, Priti Andre Sullu Priti Andre Mullu, Preethi Eke Bhumi Melide, a song with numerical are impressive songs.

The editor is not quite impressive in this film. Had the editing department worked with high standards the film could have been sharp and quick.

Last but not the Least – Underworld Dons reform and then start falling in love. Falling in love look at your status!

LABORIOUS WATCH! Score – 2.5/5

Cast – Yogesh, Madhubala, Rangayana Raghu, Shanker Ashwath, Naveen, Ravi Kaale, Raju Thalikote, Jayasimha Musuri, Nagaraj Murthy, Premalatha, Bhasker Pandavapura and others.
Cinematography – Cine Tech Soori.
Music – AM Neel.
Story, Screenplay, Dialogues, Direction – Chandrasekhar Srivatsav.
Producer – Maruthi Jadiyar.

Bangalore Mirror Review

Kaalaya Tasmai Namaha: Empty vessel, Loud noises

Repeating a successful formula is the film industry’s prerogative. Repeating all the wrongs of your previous film is the audience’s nightmare. Director Sreevatsav has once again proved that film-makers, who boast about changing the whole industry with their films, should be taken with a handful of salt. (Our apologies, a pinch of salt does not work here). It is better if they can change the way they make their films, before they talk about the greater common good. Kaalaya…has all the wrong elements from the director’s previous film Patre Love Padma. It has an extremely slow narrative, unexplained emotions and a thin plot. To his credit, the second half has a few interesting turns, but then it was too late to save the film.

The film is about ‘Ten’, a hitman. Thanks to the the leading lady (newcomer Madhubala who plays a school/college girl), he is apprehended by cops on a couple of occasions. These cops are portrayed as no more than buffoons. The hitman has a low IQ; remember he mistakes a peacock feather for a leaf. And further in the plot, that reminds you of Cheluvina Chittara, he elopes with the girl, only to struggle to even put up a decent life in Bangalore.

The first half of the film is a sore reminder of Patre Loves Padma; slow and dull. Even the murders of a dozen people is not exciting. However, it is without doubt an assault on the senses. It is only a reminder of things to follow. A manhole cover is the latest addition to the weapons with which on-screen heroes can kill others. However, a few scenes stand out, like Shankar Ashwath refusing to allow his daughter marry 'Ten' – it’s an engrossing conversation, though it appears like a rehashed version of Ramesh Bhat’s role in Patre Loves Padma. In the second half, there is a curious turn after ‘Ten’ commits a mistaken murder. But you have already seen him murdering dozens of other characters by this time and you are immune his reluctant emotions. Madhubala’s character gets a dramatic, but realistic change. A foot-tapping song featuring veteran Chandrashekar concludes a very good 30-minute block. The rest of the film makes you squeamish, if not bored.

Yogish suits the role. Madhubala looks just out of childhood, but is perfectly cast. Wish Rangayana Raghu was given more costumes. AM Neel has scored a couple of good tunes and overall the album is above average. The wide-angles of the camera would have been great, if it was not just two locations; a railway bridge and Hesarghatta plains, that made up three-fourths of the film. As the common film wisdom goes, anyone can direct a film, but not everyone can become a story-teller.

Rating: **1/2

-S Shyam Prasad

Times of India Review

Kaalaya Thasmai Namaha

Critic's Rating: ***
Cast: Yogish, Madhubala, Rangayana Raghu, Shankar Ashwath, Ravikale
Direction: Chandrasekhara Srivastava
Genre: Romance
Duration: 2 hours 30 minutes

Story: A boy from a slum falls in love with a girl from a middle-class family and elopes with her, but circumstances force him to leave her. His experience is that finding love is easy, but retaining it is difficult. Do you believe this?

Movie Review: With a not-so-strong story and a debatable theme that it is difficult to sustain love, director Chandrasekhara Srivastava has selected a romantic story glorifying violence. Though there is freshness in the screenplay with beautiful location, good camerawork by Cinitech Suri and melodious numbers by AM Neel, poor and slow narration is sure to put you off.

The story does not move at all and the many sad songs don't keep you in good mood. There are no lively sequences that lighten up the dull narration. However, full marks to the director for the excellent making of the movie.

The story focuses on Tennu (Yogish), a supari killer, who falls in love with Madhu (Madhubala), a girl from a middle-class family. He takes on her father ( Shankar Ashwath) and underworld don Anna (Rangayana Raghu) and elopes with her. To eke out a living, he takes supari from don Bhayya ( Ravikale) to kill a boy. But he kills the boy and his girlfriend. Infuriated Bhayya and police are after him. But there is a sad end to the story which is debatable for its theme.

Full marks to Yogish not only for his excellent acting, but also for singing a song in Kolaveri tune. Madhubala makes an impressive debut with good dialogue delivery. Rangayana Raghu excels as don.

-GS Kumar

Rediff Review

Review: Kaalaaya Tasmai Namaha is engaging

Srikanth Srinivasa says Kaalaaya Tasmai Namaha is a slow in narrative but is keeps the audiences engaged.

Director Chandrashekhar Srivastav has harped on one message throughout the Kannada film Kaalaaya Tasmai Namaha, and that is "you may be able to fall in love but it is difficult to stay with it and make a living".

The film is set against the backdrop of underworld activities.

The hero's nickname is Ten but his real name is Tukaram (Yogish) which one comes to know when he is arrested and is made to stand with a slate that shows his real name.

He is supposedly a contract killer but has failed to kill even a single soul for four years despite being engaged for the purpose by his guru played by Rangayana Raghu.

Ten is always accompanied by three of his trusted lieutenants who are in the same boat as the good-for-nothing killers. Madhu (Madhubala) meets Ten by chance. The four-member gang is on the run and the girl accidentally helps the police find them every time.

The two take a liking to each other. Madhu is keen to leave her home to go with Ten while her father wants Ten to be bumped off. He thus pays a supari to Ten's boss to finish Ten off.

Ten and Madhu come to the city. Ten is jobless and is unable to look after Madhu.

The gang is after him and the police are also after him. He has the responsibility of ensuring Madhu's safety. Does he succeed in ensuring his girl's safety? Does the girl prove lucky to the gang?

Yogish has played his role well but it is debutante Madhubala who walks away with all the acting honours by playing the innocent girl so perfectly. Rangayana Raghu is seen differently.

Suri's cinematography and A M Neel's music are good.

Though the narration is quite slow, the film is engaging and a good attempt.

Rediff Rating: **1/2