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Hanumanthu

Hanumanthu is one such movie that has everything right, but it still ends up as a B grade movie. The script couldn't have been better: a freedom struggle flashback and a modern day malady. Srihari's acting also lacks nothing in taking on the Britishers prior to independence as a grand father and smothering a present day king maker as a grandson. With Madhu Sharma's beauty sprinkled in for good measure this artwork on celluloid has all the ingredients of a good movie. But it strictly remains a B grade movie. Even the dance number by Lawrence cannot improve the status quo. The comedy track is not very inspiring, but isn't bad either.

Hanumanthu is the center of action of his village. Raised by a very protective grandmother, Hanumanthu is a paragon of virtue (aren't all hero characters in Indian cinema'). Among the many good things that he does for the village, he finances the study of an aspiring medical student. The success of the boy in getting a medical seat is rejoiced by all in the village and to meet further expenses for his study all the villagers contribute financially. But the boy is ragged severely that prompts him to flee medical college and return to the village. Hanumanthu goes to the city to teach the goons in the medical college a lesson. After the lessons to the goons are over Hanumanthu meets Sitaramayyah, a trusted lieutenant of his grandfather. The flashback narrated by Sitaramayyah opens up an entire chapter in history that dates around the pre independence time when Hanumanthu's grandfather (Srihari again) was the head of a village. And then...well, you have to find out.

There are so many pluses of this movie. If violence is unnecessarily a necessary ingredient of most of the movies, this movie cannot be blamed for being violent. Everyone has acted well in the movie. Even the actors who enacted the Britishers' roles were well chosen. Still the bottom line is that it's a movie meant for B and C centers.

May be he has never thought of this, but Srihari needs add some sophistication to his rustic image. We know that for this he has the potential and we wish him well.

Director: Chandra Mahesh
Producer: Santha Kumari
Cast: Srihari, VijyaChandar, Ranganath, Pradeep Rawat, KR Vijaya, Madhu Sharma, Pinky Sarkar, Manasa, Devi Sri, LB Sreeram, Kondavalasa, Venu Madhav, Kovai Sarala, Rajesh, Siva Reddy, Arun, Surya, Hemanth, Manik, Venkatesh Goud, Lakshmaiah Chowdary, Sridharanna, MS Prakash, Chitti, Veligonda Srinivas, Potti Ram Murthy & Master Nishant
Music: Vandemataram
Lyrics: Suddala Ashok Teja & Bandaru Danayya
Cinematography: Adusumalli Vijay Kumar
Screenplay: Chandra Mahesh

Sri Krishna 2006


Srkrishna 2006, as the name suggests, just turns the concept inside out. Instead of one husband and two wives the movie deals with one wife and two husbands. In a painfully comic way the movie tries to convey the message ''women do not like to share their men like men who do not even think of sharing their wives''.

SriKrishna 2006 is an entertaining movie. Though it lacks a heavy star cast, it delivers successfully with a modest cast comprising of Sreekant, Venu and Gowri Munjal in the lead roles. Srikrishna 2006 is a comedy that tries to deliver a social message. The issue of bigamy is prevalent in society, especially in Andhra Pradesh. Srikrishna 2006 points out the evils of bigamy. It drives the point the hard way.

Venkatswarulu (Venu) is a boy raised by his grand mother. She is worldly wise and financially prudent. But she dies when the boy is still in his teens. Just before dying however she drills the notion of bigamy into the boy's mind. Her theory is that a man should have two wives, incase one marriage fails he can survive with the other one.

Venu grows up to be a successful real estate dealer. Though financially well off he fails to get a match for himself. Reason: he asks every prospective bride if she would agree if he takes a second wife. No wonder he is unmarried even at 30. Then he meets Gowri Munjal, a girl from the village who wants to marry the man of his choice against her sister's (Ramyakrishna) wishes. Venu falls in love with Gowri Munjal but again Venu puts the same condition with her. Would she agree him to take a second wife'

Does Gowri agree' And whats Srikant's role in the film' Find out. This is a movie worth watching. There are pluses in the movie that include Gowri Munjal's beauty, Brahmanandam's comedy and a different storyline. The jokes involving Ali and Venumadhav basing on hypnotism are well conceived. Brahmanadam's marital woes after the second wife comes in are hilarious. The way Vijeyendra Prasad has come up with the jokes is the proof of his creative credentials. As a debutant director and storywriter he has done well. But the find of the movie is Gowri Munjal. She has the potential to launch a few dozen movies.

The movie though not a great one, succeeds in entertaining the audience. At least SriKrishna 2006 doesn't make you wince with mindless violence scenes. The jokes are good, acting of the cast appreciable and the story is unique. So what are you waiting for' Grab your vehicles and rush to watch Srikrishna 2006 in your nearest theatre. You will enjoy it. In the process the ghost of bigamy may get exorcised from anybody who harbors it.

Director: Vijeyendra Prasad
Producer: D Ramanaidu
Cast: Sreekanth, Venu, Ramya Krishna, Gowri Munjal, Brahma Nandam, Dharmavarapu, Ali, Venumadhav, Jeeva, Telengana Shakuntala
Music: MM Srilekha
Cinematography: Ravindra Babu
Editing: Marthand K Venkatesh
Story/Writer: V Vijayendra Prasad

Oka V Chitram

Well, Pokiri is growing strong by the day, the entire young crowd is there. Bangaram though a crowd puller, fails to keep pace with Pokiri and thrives on the same young crowd. Pournami is doing fine, families and youth are patronizing it. Lets not talk about Veerabhadra, it has fallen flat on its face.

So the youth and the families thronging theatres screening Pokiri and Sri Ramdasu and Bangaram as well as Pournami enticing the audience with their heavy star cast, who is left to watch Oka V Chitram? The pull of Teja's fame as a director attracts a house full crowd on the first day's noon show. Many students who have no better option for entertainment would trickle down to watch the movie for the subsequent shows. But many will be dissuaded by the word of mouth lukewarm publicity the movie gets. Teja is a brilliant filmmaker but is under no compulsion to be so every time. In Oka V Chitram he utilizes his creativity to the best of his abilities. That includes a monkey giving prasadam to the hero, bachelors renting out a house and a suicide drama. These situations have been done to death in thousands of movies.

And for a difference the mother of the hero urges the hero not to avenge their family dishonor but make a movie with the reigning super star of tollywood ? Santosh Babu (a reference to Mahesh Babu). Again for a difference, the hero Balram (Pradeep) comes to the big bad world of the city and works as a clapper boy and not as an ad copywriter. He runs away from home with six gold bangles of his mother to make a movie with his favorite film star Santosh Babu (Vamsi). Creativity of Teja.

First of all the very way Balram gets the idea to make a picture with his favorite star is again the example of creativity of the story writer. Balram emerges out of a theatre along with other fans after watching a movie of Santosh Babu. Though other fans praise the movie for their star's sake, Balram disagrees and states that the movie is going to be a flop. Arguments ensue between him and other fans of Santosh Babu. They taunt him by saying. ''If you are so good at judging movies why don't you make a movie by yourself?'' He says that he would release a movie with Santosh Babu as the hero by the next Deepavali and if he fails to do that he would consume poison in front of the same theatre that they are arguing. Creativity of Teja continues ? poison evokes strong response from people and has been used in a thousand movies. So he uses it again and you question in your mind as you watch the movie, ''Is this necessary?''

The movie is not devoid of plus points. A- No necessary or unnecessary violence. The maximum are a few slaps. B- Many Realsitic scenes. C- Gives an insiders view of how the Telugu film industry works. D. Reasonable amount of comedy.

But the idea of making a realistic movie (of a fan making a movie with a low budget) with an unrealistic idea (how can you make a movie with a star without his knowledge, that's what the hero of Oka V Chitram does) proves to be the undoing of the movie. Teja fails to convince the audience with all his realistic depictions. He gets no prop from the good acting of the cast, good comedy or good songs. Moreover negative portrayal of Santosh Babu as a reference to Mahesh Babu will not find many takers, for he is the reigning superstar.

Every thing remains pretty average in "Oka V Chitram". And the two jokers you see in the posters giving an unusual image to the movie are there only for two minutes doing almost nothing.

Director: Teja
Producer: Dasari Narayana Rao
Cast: Pradeep Pinishetty, Vamsi, Madhu Shalini, Poonam Kaur, Pooja Bharti, Mallishka. Tanikella Varini, Krishna Bhagwan
Music: Sri Murali
Story/Writer: Teja

Godavari

Anand was such a movie last year and Godavari is the movie this year. If watching Anand was pleasurable like drinking a nice hot cup of coffee, watching Godavari is like sipping a soothing cool drink on a breezy beach on a summer evening.

Smoky hillocks, swirling waters and a boat make sure that every scene in Godavari is picture perfect. The scenery doesn't undermine the captivating cinematography rather adds to it. Shot almost entirely on a boat on the meandering Godavari River the movie delves deeper into the human psyche: what kind of a man a self-respecting, independent and nubile woman seeks, why love is such a mushy phenomenon for some and how a man recovers from rejection. It's a little bit like Mills and Boons kind of romance on River Godavari. Add to that an insightful talking dog with a sense of humor and the entertainment is complete.

From the first frame to the last, there isn't a single thing that looks out of place in the movie. None of the characters ever utter anything that's unnecessary. None of the actors give any expression that's out of sync with the scene. That's Sekhar Kammula's dexterity in filmmaking. These days, while rain sequences are shot with mechanical showers and under bright sunshine, Sekhar Kamulla shoots in actual rain and catches a rainbow in the process. This kind of diligence is indicative of the pains a sincere director is willing to take to make the film as authentic as possible.

Emboldened by the scope given by Sekhar Kammula, Sumanth and Kamlini Mukherjee explore their own hidden acting talents via the movie with their natural styles. Sumanth proves that an actor need not have zany good looks, but must have acting talent and a creative director to guide.

Sri Ram (Sumanth) is caught between two girls Sita (Kamalini) and Raji (Neetu Chandra), that's all we would like tell about the story.

You must see this movie, may be more than once. If your friends are whisking you away to watch this movie, be game, you will find yourself thanking them profusely afterwards. Not to speak of the good values characterizing the movie rubbing on you.

Director: Shekhar Kammula
Producer: GVG Raju
Cast: Sumanth, Kamalini Mukherjee, Neetu Chandra, Kamal Kamraju, Tanikella Bharini
Music: K M Radha Krishnan
Lyrics: Vetturi
Cinematography: Vijay C Kumar
Editing: Marthand K Venkatesh
Story/Writer: Sekhar Kammula

Andarivaadu

And if you are inside a theater for the opening show, you realize a whole new meaning to the word frenzy. The hysteria engulfs all in its wake, as a mass of humanity transforms into one homogenous entity that's unanimous in its raucous ecstasy, and shows it through zillions of shredded paper billowing into the hallowed air as The Man does his thing. Sometimes, life is all about blending. If you're still feeling like your own man, God help you.

Yes, there's a world out there.

Andarivaadu is almost perfunctory Chiranjeevi fare - a mass entry, big bad wolves who want more money and are willing to bite for it, 2 (two) heroines, a warehouse of family sentiment, glitzy dances, riotous comedy and charged stunt sequences. Govindaraju (Chiranjeevi) is a boorish mason who can kick ass real bad, and is quite the man in his community. A brash yet soft-hearted widower, he's raised his son Siddharth (Chiranjeevi again) through enormous hardship, and the latter is now a celebrity TV anchor with his own show, and opulent in love for his father.

Siddharth pisses off a big local don when he exposes him on his show, and coincidentally Govindaraju gets the same guy's kid brother in jail on a murder rap. That's obviously going to entail payback, since big local dons don't celebrate these things.

A parallel thread of the film encapsulates a romance between Siddharth and Shweta (Rimmi Sen), which doesn't meet its logical end since Shweta herself despises Govindaraju - he is the reason that Siddharth insults her rich dad Virendra (Prakash Raj) at their engagement ceremony, even if Virendra invited it. She then marries Siddharth, deciding to use that as a means to split the father and son.

Most of Andarivadu deals with the relation between Dad Chiru and Son Chiru, and is well-done simply since Chiranjeevi is such an evolved actor. His portrayal of Govindaraju shows just why he is amongst the finest of Tollywood. From comic timing to tear-jerking scenes, he has a range that lends everyone else a benchmark.

Tabu as the demure, poised second wife of the elder Chiranjeevi does a good job, too. The film has a generally riotous comic track with the Big C himself leading it, though there are some unfortunate exceptions (like when Chiranjeevi drives with Sunil on a Bullet). Venu Madhav and M S Narayana support him pretty well. The music by Devi Sri Prasad is average, and none of the songs particularly lingers, except to some extent the title track.

Andarivadu is not among the sleek, trendy kind of movies that increasingly hit the screens these days - it is more a throwback to the '80s, with its sentimental theme and its rustic look. Chiranjeevi has more-or-less painted himself into an image that's increasingly not going to help with the urban youth, thereby restricting his appeal as an ongoing process. He also looks too painted, literally, and needs to lose weight and try different genres to sustain his position.

On the whole, though, this one entertains, and is worth a watch.

Cast: Chiranjeevi, Tabu, Rimmi Sen, Prakash Raj, Satyanarayana, Venu Madhav, M S Narayana, Sunil, Rakshita
Director: Seenu Vytla

Manmadha

Let's begin at the beginning. Mythili (Jyothika) has a nightmare that she is raped by Madan (Simbu), whom she does not even know yet. A little later, she discovers she's pregnant. She's thinking about how the Church now has a new problem to worry about, when Madan, who she's met in this time, points out to her that it's all a mistake and that she's not really pregnant. She promptly falls in love with him, since anything is better than getting pregnant.

All this time, little does she know that her Madan is a modern day Dr. Jekyll with a dark side. When night falls, he identifies women who cheat on their husbands/boyfriends, and has sex with them. With the women, we mean - this film has enough complications already. All these women are inevitably scantily dressed, "fast", and making love to him in nanoseconds. If you're wondering what he got that you don't, you'll be thankful when you find out - it's blood trickling down his nose. It's one of the several pieces of inexplicable crap in this film.

The flashback is that Madan had a younger brother whose girlfriend cheated on him, and who therefore brutally killed her, her lover, and then himself. Madan feels that he let them off easy, and decides to wipe out all women in the world. Or close to that - women who sleep with other men. In a final dramatic monologue, he states, "I don't know whether my actions are right or wrong." Yeah, now there's a real toughie. We're going to need more than two lifelines to get this one right. Or we'll just leave it to God (we approached Him, but even he refused to do this review).

It's dignifying this one to even analyze all the things wrong with it - the script-writer of this joke of a flick would be tried for crimes against humanity if anyone took it seriously. The first half of the film, though, is tolerable compared to the never-ending second half, thanks to Jyothika's screen presence.

Simbu appears in a double role as both the older and younger brothers, and does a pretty good job, especially compared to most Telugu heroes his age. The performances are all fine, though Jyothika actually doesn't have much to do with the main story - surprising, since the main reason that this film was released was that she's hot after Chandramukhi.

Sindhu Tonali as the cheating girlfriend just sits around and looks pretty. Yana Gupta and Mandira Bedi are in blink-and-you-miss-them roles. The few decent dance numbers appear at random places in the storyline, but since that happens in 99.99% of all movies, it would be unfair to give the whole credit to the fimmakers. And we must admit that Simbu and Jyothika do complete justice to the totally "mass" dance steps.

It's almost impossible to understand how this one fared however it did in Tamilnadu. And as a parting shot, we'd like to see how a film about adulterous men being murdered would do.

Cast: Simbu, Jyothika, Sindhu Tonali, Sayaji Shinde, Mandira Bedi, Yana Gupta, , Jyothika, Mandira Bedi
Director: Jai Murugan

Narasimhudu

There are films that try something different and fail. Narasimhudu is just an indigestibly crass and decrepit film, and what disappoints you all the more is how much of resources it had at its disposal. They apparently cleaned up Rs. 20 crores on this. Think of how many mouths that would have fed.

Then, take the actor himself. Aadi. Simhadri. Samba. Naaga. Andhrawala. Narasimhudu. How many times does he think it is worth? The same superhero-who-can-bash-up-20-armed-goons-singlehanded drill? There isn't one other actor in recent times who's been so repetitive. Right down to the extent of referring to his grandfather in every single film, 3 years after debut.

At its heart, Narasimhudu is yet another puffed-up MCP film that reeks strongly of the 80s formula - a superhero whose election symbol is testesterone, women who are eager to be shown their place, and comedy that you'd find in the Saturday midnight programs of Maa TV. Narasimhudu (NTR) is a he-man who can beat up 20 armed well-built goons single-handedly (assuming there's no shortage), and the darling of his village. One day an 11-year-old girl in the village gets raped by the sons of two fast friends and powerful bad men JD (Puneer Issar) and Surya (Kalabhavan Mani). Narasimhudu then goes to Hyderabad to track them down and kill them.

Some of the footage in the film is so bottom-of-the-barrel, you're wondering how any normal human can think it up - for example, Subbu (Amisha Patel), Narasimhudu's girl, tells him that he should not utter one word until the villians are dead, and so he stays dumb for a whole half of the film. Then, he actually keeps growling like an animal since his name is Narasimhudu. And for a man who has to keep a very low-profile given his mission, he makes threatening noises against a man no less than the Commissioner of Police, for no rhyme or reason.

Then, there is that reciting of the "Paritranaya Sadhunam…" verse, which must have hurt the feelings of the Lord Himself. More - when the Commissioner (Ashish Vidyarthi) comes to Narasimhudu's tenement to capture him, he (the Commissioner) starts badly beating up the people there asking them to confess that they saw him commit the murder of JP, but when one of them starts to indeed confess, he prays her to keep quiet about it, that Narasimhudu is a hero. Yes, it'd be interesting to see the results of an IQ test taken by the writers of these scenes.

There's also no explanation for a scene where some goons terrorizing a neighbourhood run away upon just seeing Narasimhudu - he is just a guy living in a non-descript village, not Osama bin Laden. There are millions more like this.

It's hard to care for anything else in the film, but the songs are the same fare, with lyrics bordering on vulgarity. The dances are tolerable, but since when did you start going to a film to see some guy dancing? Sameera Reddy has nothing to do but go around with her sari missing all through the film. Wonder if she dresses like that in real life.

Kalabhavan Mani is the only commendable thing about this whole film - after having seen every guy playing villian trying his hand at acting eccentric, you still get tickled by him. The women have nothing to do except be in the songs. Some performances, like by the young girl, are really bad.

We'll probably fill pages if we go on like this. Just remember one thing: "Paritranaya Sadhunam…" The Lord is protecting good people from films like this, in the form of reviews all over the media.
 
Cast: NTR Jr., Amisha Patel, Sameera Reddy, Puneet Issar, Kalabhavan Mani, Ashish Vidyarthi, Satyanarayana, Dharmavaparu Subramanyam, Rahul Dev, Krishna Bhagawan, Jaya Prakash Reddy, Tanikella Bharani
Director: B Gopal

Subhash Chandra Bose

For example, Venkatesh and his friends stiff speakers from a mosque, a temple and a public rally, and have irate mobs chasing and cornering them. Then Venkatesh gives them a 100% corny lecture about how public speakers disturb children at study, making all the mobsters collectively drop their clubs. We'd like to see a 25-year-old try this in real life. A C Guards is a good place. A brilliant solution to a complex situation is one that anybody can pull off, and something that requires no luck or special skills (except being able to think on one's feet). This is chickening out.

There's plenty more flume. Venkatesh drives 600km on a 100cc bike from Hyderabad to somewhere near Vizag for no tearing reason, when the alternate option is the Godavari Express that averages 80kmph on a 100% traffic-free track and keeps your backside functional at the end of it. Then, he hits on the head, a British soldier wearing an army-designed helmet, and the latter starts bleeding.

More: ill-timed duets with a raunchily-dressed Shriya when people are geared to watch a passion-filled freedom struggle; completely inane and intolerable comedy in that period-film part with Brahmanandam, Kota and Babu Mohan (especially the inaugural scene involving them); random and inconsistent reactions to local intolerance by Gulshan Grover, the British officer in charge who can't decide between being funny and being cruel; and a lot more.

The film deals with an unemployed man who gets a job as a TV reporter after, yes, he's seen lecturing a mob, and then recalls a previous lifetime when he was Subhash Chandra Bose, a fierce freedom fighter who is betrayed and ultimately killed by Venkata Ratnam (Prakash Raj), who has now become a big leader and is all set to become PM. The reborn Bose now has to stop him, with the help of his colleagues in the channel.

An error like Bose being 23 years old in his current birth, when he died in 1946 and this is 2005, is perhaps unavoidable given the premise of the script. But when you see him whispering "Orey Bandoda!" in Prakash Raj's ear and then disappearing in a split second before the latter can look, you slap your forehead.

That whole mind-game thing in the end on Prakash Raj is so completely not up to snuff, as isn't Prakash Raj's detailed confession - like he wants to leave no loophole when they show it on TV. It's just pandering to an audience that somehow wants to see the hero win, and putting thought and good film-making aside.

The strength of the film is Venkatesh. There's simply nothing else. Shriya and Genelia are pretty, and the comedy mostly sucks, except in rare parts like in the interaction between Prakash Raj and his son when they're drinking towards the end - but when you are putting in so much comedy, some part has to statistically turn out good.

The music is plain average. The period part doesn't pack well at all because it rouses very little passion in you, thanks to poor scripting, the dousing of this part in songs whenever things are just heating up, the comic portrayal of Gulshan Grover, and the length (2 hours). Commercial elements are all okay, but the film should do justice to an unorthodox subject if it takes up one. And the film should be good.
 

Cast: Venkatesh, Shriya, Genelia, Suneel, Prakash Raj, Gulshan Grover, Tom Alter
Director: K Raghavendra Rao

Kaadante Aunanile

Sindhu (Naveena) is a young, beautiful and cultured Indian girl who is stubbornly individualistic and determined to carve out her own place in the world. Raghu (Vamsi) is an American-born lad who has recently been transplanted to India. Though an initial misunderstanding antagonizes Sindhu against Raghu, this feeling soon gives way to friendship and affection.

The first half of the movie targets various socially relevant issues. Sindhu is an assertive woman, who fights for her rights in a consumer court and donates the money she gets to the CARE Foundation. A scathing attack is launched on 24-hour news channels and the abysmal lack of content in their telecasts. The unnecessary pressure on students to perform academically is criticized. Mildly sensible views are expressed on love and marriage.

Meanwhile, Sindhu and Raghu become close friends and Sindhu falls in love with him. She does not, however, think it necessary to confirm whether Raghu reciprocates her feelings. She confides in her parents, they give her their blessings, and all that remains is fixing a date for the wedding.

When Sindhu merrily informs Raghu that her parents approve of their match, the latter is stumped. He informs her that he is not in love with her and that she should get all ideas of marriage out of her head. Sindhu is angry and heartbroken. And this is where the movie altogether loses its way.

Where another girl would have moved on with life, Sindhu decides to fight for the man she loves. An admirable, gutsy move. Only, she files a case against him in court, on the grounds that his behavior aroused love within her and that he is therefore responsible for her heartbreak. As if that was not ridiculous enough a premise, the court actually admits the case, claiming that it will set a legal precedent for the youth of the nation. Yes, now you've seen it all.

Raghu defends himself along expected lines saying he was just being friendly and was misunderstood. He is reproached for hurting Sindhu's 'Indian sentiments', though it occurs to no one to reproach Sindhu for being presumptuous. And not once in the movie is it acknowledged that Sindhu was being a pompous ass when she filed the case.

Raghu takes it upon himself to find a suitable match for Sindhu, and Sindhu decides to stay in his house to make his task easier. This is another bizarre but convenient arrangement. Over a period of time, Sindhu tries to soften Raghu's heart, but in vain. Fate intervenes, however, and Sindhu ends up saving Raghu's life by giving mouth-to-mouth resuscitation. His gratitude turns to affection, and affection to love. This love reaches a crescendo when Sindhu is about to be engaged to another man. Nothing like some competition to make one realize that one is in love.

Yes, so logic is not the strong point of the movie, but the flick is high on drama and emotion. Some time is spent on characterization, though it is still difficult to understand how the ABCD Raghu lands up in India with no American accent and fits instantaneously into the Vizag college scene.

The performances are decent, with Suman appearing in a cameo as Raghu's father. The music is catchy, and is likely to become popular. The locations in Vizag and Kerala come as a welcome relief from the usual foreign locales. The one item number, as well as the item-girl who performs in it, are insufferable.

This film would have been far more tolerable if the court case had not been dragged into it. The role of Sindhu was supposedly a central and strong one, but all that comes across is as a spoilt brat who is fishing for importance.

Watch this one only if you are willing to ignore the obvious flaws in the plot.

Cast: Naveena, Vamsi Krishna, Suman
Director: Avinash O S

Super

This film has got many scenes involving chases and robbery. Set in the backdrop of Mumbai, Goa and Hyderabad the climax of the film was shot in Goa. Chase sequences were canned in Mumbai. Anuksha (Ayesha Takia) is paired up with Nagarjuna. The English song 'Hotel California' is being reused in Super. Producer Nagarjuna has obtained special permission from Jay Oliver to use the tune. This film would have six songs with westernized music. Sandeep Chowta scored the music.
The film has many bike chases for which several bikes of Rs. 10 lakh each have been imported from abroad. Three Australian champion race bike riders have been employed to work for this film. The unit would visit either South Africa or Bangkok to shoot a few sequences underwater. A special camera is being imported from Germany for this film.
Shayaji Shinde, Piyush Misra, Shabbir, Aryaman, Brahmanandam, Ali, Venu Madhav, Sunil, Paruchuri Venkateswara Rao, Khayyum & Sumitra are the other artistes. Editing is by Marthand K Venkatesh,Art is by Chinna . Lyrics are by Bhaskarabhatla Ravi Kumar, Kandikonda & Viswa,Stunts Alen Amin, Vijay and Cinematography by Shyam K Naidu, the film is produced by Nagarjuna


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