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ஸ்ட்ராப்லெஸ் உடன் காதல்: ஹன்சிகா மோத்வானி முதல் மாளவிகா மோகனன் வரை குறிப்புகளை எடுத்துக் கொள்ளுங்கள்


நல்ல ஸ்ட்ராப்லெஸ் தோற்றத்தை யார் விரும்ப மாட்டார்கள்? இதற்கு முன் இந்த தோற்றத்தை நன்கொடையாக அளித்த பல நட்சத்திரங்கள் உள்ளன. இந்த பிரபலங்கள் தங்கள் ஆடைகளால் தோள்பட்டை மற்றும் காலர் எலும்புகளைக் காட்டியுள்ளனர், இதனால் அனைவரும் மூழ்கிவிட்டனர். தென்னிந்திய பெல்ஸ், ஹன்சிகா மோத்வானி, தமன்னா பாட்டியா மற்றும் மாளவிகா மோகனன் ஆகியோரின் குறிப்புகளை எடுத்துக் கொள்ளுங்கள்.
ஹன்சிகா மோத்வானி ஒரு முறை வெள்ளை நிற ஸ்ட்ராப்லெஸ் உடையுடன் ஒரு நேர்த்தியான முழு வெள்ளை தோற்றத்துடன் ஃப்ரில்ஸுடன் இருந்தார். அவர் ஒரு ஜோடி கவர்ச்சியான வெள்ளை குதிகால் அணிந்து ஆடையை வடிவமைத்தார். வேறு ஒரு சந்தர்ப்பத்தில், நடிகை மென்மையான இளஞ்சிவப்பு நிற உடையில் வெள்ளை உருவங்கள் மற்றும் எம்பிராய்டரி வேலைகளுடன் காணப்பட்டார். அது ஒரு பொருத்தம் மற்றும் பாயும் ஆடை மற்றும் அது அவளுக்கு அழகாக இருந்தது.


தமன்னா பாட்டியா ஒரு முறை அழகான கருப்பு உடையுடன் ஒரு தோற்றத்தில் இருந்தார். இது ஃபிட் அண்ட் ஃப்ளோ ஆடையாக வடிவமைக்கப்பட்டது. மேற்பகுதி லேசாக அலங்கரிக்கப்பட்டது. அவள் சில பனி மேக்கப் மற்றும் சிவப்பு உதடுகளில் இருந்தாள். அவளுடைய முடி ஒரு காட்டு சிகை அலங்காரத்தில் இழுக்கப்பட்டது. அதிர்ச்சியூட்டும் சோக்கர் நெக்லஸுடன் அவள் தோற்றத்தை நிறைவு செய்தாள்.

மாளவிகா மோகனன் மிகவும் உணர்ச்சிகரமான பாணியைக் கொண்டவர். அவள் ஒருமுறை ஸ்ட்ராப்லெஸ் தோற்றத்தை ஒரு க்ளாம் நேவி-ப்ளூ பளபளப்பான ஆடையுடன் காதலி நெக்லைனுடன் ஸ்டைல் ​​செய்தாள். ஆடை அவளது கணுக்கால் வரை எட்டிய துணியால் முடிந்தது. ஒரு வித்தியாசமான சந்தர்ப்பத்தில், அவள் ஒரு அற்புதமான ஈரமான தோற்றத்தில் ஒரு அற்புதமான கருப்பு லேடெக்ஸ் ஸ்ட்ராப்லெஸ் ரட்ச் உடையுடன் இருந்தாள் #tamilwhatsappstatus #trending #News

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Ravi acted as a child actor in two Telugu films: Bava Bavamaridi and Palnati Pourusham, which were produced by his father.[11] Jayam Ravi made his acting debut in the action-masala film Jayam, produced by his father and directed by his brother Mohan Raja. It was a remake of the 2002 Telugu film of the same name. His next venture was the sentimental drama M. Kumaran Son Of Mahalakshmi (2004), the remade version of the Telugu film Amma Nanna O Tamila Ammayi, in which he starred alongside Asin Thottumkal. Of Ravi's performance, a critic from Sify wrote that he "makes you want to see more of him",[12] while The Hindu's Malathi Rangarajan noted that he came out with an "appreciable portrayal throughout".[13] The film, considered a family entertainer, received the Tamil Nadu State Film Special Award for Best Film and fetched Ravi himself the Tamil Nadu State Film Award for Best Actor.[14] It also emerged a financial success.[15]

His next release, Daas (2005), another action-masala flick,[16] and his first original film following two remakes,[17] featured him as a football player.[18] The film took an even bigger opening than his previous ones.[19] Sify's reviewer described his performance as "impressive", calling Ravi a "hundred percent convincing as an action hero".[20] Mazhai, a remake of the Telugu film Varsham, was his other release that year, which was "lukewarm" at the box office.[21] In 2006, he starred in Saran's Idhaya Thirudan, which performed poorly at the box office,[22][23] following which, he acted in Unakkum Enakkum (initially released and promoted as Something Something Unakkum Enakkum), again under his brother's direction in another remake of a Telugu film Nuvvostanante Nenoddantana. Ravi portrayed a rich, happy-go-lucky NRI from London, who has to live and fight for his love in dire conditions in a rural milieu.[24] The film, which featured Trisha Krishnan alongside Ravi, became a high critical as well as financial success,[25] emerging one of the highest-grossing and most-profitable films of the year.[26][27] The N. Linguswamy-produced Deepavali under Ezhil's direction became his only 2007 release.

In 2008, Ravi appeared in three films. Following a cameo appearance in Velli Thirai, he acted in the family drama Santhosh Subramaniam, once again under his brother's direction in a remake. In the Tamil version of the 2006 Telugu film Bommarillu, starring opposite Genelia D'Souza, he played a young man, whose choices and wishes are continually subdued by his father.[28][29] #JayamRavi received a nomination for the Best Tamil Actor Award at the 56th Filmfare Awards South.[30] Next, he starred in the action thriller Dhaam Dhoom, directed by cinematographer-director Jeeva, who died in the midst of the film's shooting in Russia.[31] Completed by Jeeva's assistant Manikandan, his wife Aneez Tanveer and his guru P. C. Sreeram,[32] Dhaam Dhoom released in mid-2008 in which he portrayed Gautham Subramaniyam, a man accused in a murder he did not commit.[33] Sify's reviewer wrote that he was "simply amazing in his role", label the film as an "out and out Jayam Ravi movie",[33] while Indiaglitz noted that Ravi was "probably the perfect choice to play the character".[34]

2009–2019: Action and comedy roles Edit
In 2009, he starred in the action-adventure film Peranmai. In 2010, he starred in the action-comedy Thillalangadi, a remake of the 2009 Telugu-language film Kick. In 2011, he starred in the romantic drama Engeyum Kaadhal. In 2013, he starred in the action film Ameerin Aadhi-Bhagavan. In 2014, he starred in the action film Nimirndhu Nil, which was also shot simultaneously in Telugu as Janda Pai Kapiraju with Nani in the lead.[35]

In 2015, Ravi appeared in four films: the romantic comedy Romeo Juliet, the action-comedy Sakalakala Vallavan, the action-thriller Thani Oruvan (directed by his brother Mohan Raja) and the sports action film Bhooloham. In 2016, he starred in the action-horror film Miruthan revolving around a zombie apocalypse. In 2017, he appeared in the action-thriller Bogan (reuniting with actor Arvind Swami after Thani Oruvan) and the action-adventure film Vanamagan.[36]

In 2018, he starred in the sci-fi action film Tik Tik Tik (considered as India's first space film)[37] and the action-thriller Adanga Maru. In 2019, he made a cameo in the adventure film Thumbaa and starred as the lead in the comedy film Comali.[38

Uttama Villain is essentially a ‘throw-the-kitchen-sink-at-the-audience’ type family drama.
Actor #KamalHaasan has often taken a stand against the derivative and formulaic movies.

Each of his works has been considered a critique, of the mediocrity of the Tamil film industry. He has insisted on pursuing excellence over just going after a box-office success; formal training over the lazy ‘learning-on-the-job’.

So, when Kamal Haasan decided to play the role of Manoranjan, a Tamil film superstar, it was pregnant with immense possibilities. Though he insisted that Uttama Villain was not a ‘satire’ of the film industry, it was but natural that the audience and/or his fans expecting a film that offered a peek into what goes into the construction of an actor’s image in the society, indictment of superstardom, the intricate politics of the Tamil film industry, and the process of filmmaking itself.

But, the film only partly touches on all these aspects.

#UttamaVillain is essentially a ‘throw-the-kitchen-sink-at-the-audience’ type family drama. It features an ageing superstar, who is forced to confront the skeletons of his past, re-evaluate his relationships and come to terms with his mortality in the present and his legacy in future.

Uttama Director: Ramesh Arvind Cast: Kamal Haasan, #PoojaKumar, Andrea and Nasser Storyline: A movie star forced to confront his past, re-evaluate his priorities in the present and think about his legacy in future
The film begins with an engaging hook: a superstar, who has been making formula films and dealing with a personal tragedy, wants to make a film with his mentor, Margadarsi (K. Balachander), and make amends. He wants it to be a comedy and calls it, ‘ Uttama Villain’. This film, directed by Margadarsi, is about a Koothu artiste, who is mounting an effort to oust a nasty king (Nasser).

No doubt, the narrative technique is inventive. The simultaneous unfolding of these two stories; with the story of Uthaman, set many centuries ago, unfolding almost as a fantasy of Manoranjan, offers a very interesting perspective of ‘reality’ of fiction in cinema, and how cinema is merely an illusion of reality.

If Manoranjan’s life is about how he deals with the reality of his mortality, Uthaman’s story is about how he has been able to dodge death, missing it by a whisker every single time. Though his life is winding up as a tragedy, Manoranjan wants to make a comedy.

There was tremendous potential to work on this interesting interplay of reality and fantasy, but one can’t help feeling that these sequences don’t quite hit the notes.

The comedy film-within-the film, which has its funny moments, impacts the narrative’s ability to sustain the illusion within an illusion.

The culprit seems to be the nature of the jokes in the period film: a good chunk of which depends on scatalogical humour and associated wordplay, which we have come to expect from Kamal Haasan and co. What lifts the segment are the Theyyam-inspired performances, which are beautifully choreographed, conceived and shot. Actors Kamal Haasan, Nasser and Pooja Kumar nail these scenes.

At the end of the film, what stays with us is the story of Manoranjan, the star who has accepted the reality of his mortality and his vices. This could be because of the world that he inhabits that feels more real.

We empathise more with a man who makes one last ditch attempt to redeem his legacy on celluloid. That’s the Kamal Haasan we are more interested in

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