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They will boggle the mind.Rowdy is a 2014 Indian Telugu-language action drama film written and directed by Ram Gopal Varma. The next time you google for “Rajinikanth lighting cigarette", also look out for scenes from Paruthiveeran or Subramaniapuram. Balachander and Mahendru are just two film-makers who prove that it’s possible to entertain without insulting the intelligence. Mahendru’s influence is most strongly felt in Mani Ratnam’s films. Balachander’s films were classic melodramas that eventually upheld the sanctity of the family, but they are also memorable for their use of metaphor-laden imagery, the strong roles given to women, and probing commentary into social hypocrisy.īalu Mahendra, who is best known outside Tamil Nadu as the director of Sadma, pioneered a naturalistic style of acting and cinematography. In Apoorva Raagangal, a young man falls for a woman old enough to be his mother, while the woman’s daughter has a relationship with the young man’s father. Among Balachander’s best-known films is Avargal, in which a woman divorces her sadistic husband and contemplates remarrying her former lover. Balachander has made several domestic dramas that brought taboo topics into the open. Yet what the new Chennai films possess is the will-and the nerve-to tell old stories in new ways, which isn’t always evident in Mumbai.Ĭontemporary Tamil film-makers are reaping the benefits of experiments conducted in the past. It’s simpler to address one Indian state and the Tamil diaspora than it is to reach out both to Hindi speakers who’re scattered across the country and the globe as well as multilingual Indians who have embraced Hindi cinema over the years. Of course, Tamil directors have it easier than their Hindi counterparts, in that they’re talking to a much more uniform group of viewers who share a common language and culture. Offbeat movies such as Bala’s Naan Kadavul and Cheran’s Autograph were box-office hits, making it easier for films such as Paruthiveeran, Subramaniapuram and Sasi’s Poo to get produced and distributed. Mozhi and Abhiyum Naanum, both of which have been produced by Prakashraj, are sweet and endearing movies with simple stories, smart dialogue and believable characters. Actor Prakashraj, who earns his cheques by hamming it up as villain or policeman, runs a production house that rolls out feel-good films about middle-class families. Other movies take the best of mainstream and parallel cinema and manage to be entertaining as well as thought-provoking.
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What makes these films special is the casting of relatively unknown actors, the realistic settings, the intelligent integration of songs and dances into the plots, and the attention given to camerawork and production design. There have been countless Tamil movies about men being chased with sickles and choppers through paddy fields for falling in love with high-born women. They are set in the Tamil heartland (Paruthiveeran in a village, Subramaniapuram in Madurai) and are about young and aimless men who deal with forbidden love, violence and caste politics. Both films belong to what I call the “rowdy genre". Among the more interesting Tamil films in recent years are Ameer Sultan’s Paruthiveeran and Sasikumar’s Subramaniapuram.