Salesh Dipak Fernando

Category: MOVIES Page 1 of 17



For all the hype surrounding the film, the movie is nothing but an insipid boring snooze fest which aims to put you to sleep without a sleeping tablet. It is a pretentious ode to a piece of history that doesn’t need a recollection especially at a time when women are staunchly standing up for equal rights. Deepika Padukone is gorgeous but her character pans out more like a meek surrender than a strong-willed woman whose story needs to be told.

The film is so Pro Rajput that it immortalizes and justifies their actions while the people belonging to other clans are relegated to the level of cringe-worthy beings. Exaggeration is all right but too much of anything is good for nothing.

SLB knows how to decorate his film but beyond that, there’s no heart, intent or purpose. Padmavat is one of his weakest films. You enter a non-veg hotel expecting a Biryani feast instead all that is left for you is Curd Rice. That’s what this film is. If Padman had hit the screens today Padmavat would have been a washout. Thankfully that didn’t happen.

If you are not a fan of SLB’s grandeur then you can skip it and wait for DVD. All that glitters is not gold. Oh, wait this film isn’t worth comparing to Gold. All that glitters is not the best impression of your fake necklace.


The Understudy

I have written a lot about Rajini before that anything I write here might seem like a mere footnote. But let me try to do justice to my favourite onscreen hero. There are two films which played a vital role in my fascination for the big screen. One was Sathyaraj’s Jeeva and the other was Rajinikanth’s Raja Chinna Roja. These films were my early big screen impressions.

But I want to travel back in time to Aboorva Ragangal. A shabby young man makes a blink and miss appearance in a stellar ensemble. People would have barely noticed him in a cast comprising of Srividhya ,Kamal Hassan and Major Sundarrajan. Maybe his mentor knew he was opening the gates of Tamil Cinema to the man who would eventually redefine Superstardom.

He wasn’t a conventional hero by any sense. He had to rip apart everything that defined a Tamil hero and set a precedent. To his credit, Rajini spent most of his early years as an attentive understudy. He was naturally gifted with the aura of the showman – a trait which was very evident in the films in which Kamal and Rajini shared space. He would complement Kamal’s understated performances with exaggerated applause-worthy showmanship with Deepak of Ninaithale Innikum being the pinnacle. He is entrusted with only one task in an otherwise heavy musical – to be a joyous deviation from all the serious happenings in the film and he does that admirably well. The cigarette flipping scene still evokes laughter. Who would have thought that there would be a scene where Rajini would be scared to flip a cigarette?

The Actor


Rajini is perhaps one of the most underrated actors in Tamil Cinema. We often overlook the effort needed to bring in that irresistible energy on screen. His early days consisted of some brilliantly understated performances. You don’t have to look past Mullum Mallarum to see what Rajini can do as an actor. People often state 6 il irundhu 60 varai, Thalapathy when mentioning about films where we see Rajini as a full-fledged actor but my favourite Rajini film from his early years has to be Nallavanuku Nallavan. A grossly underrated film where Rajini shines as a fabulous performer. That he has the ever-reliable Radhika at the other end to complement him is an added bonus.

Even in films where Rajini the star hides Rajini the actor, there would be isolated scenes of sheer brilliance where the actor would sneak out of his hiding place. The scene in Anamalai where he reprimands his daughter and song that follows is big screen orgasm. There are few more gems like these if you are willing to look closely. Even recently despite the ebb and flow of Kabali as a film Ranjith successfully gave us a glimpse of Rajini the actor.

The Villain and the Anti-Hero


I sometimes wonder if we had unknowingly let go of one of the greatest Tamil Cinema Villain of all time by making him a Superstar. He was one of the most unapologetic and remorseless villains I have ever seen on screen. He makes you almost root for him with his antics. You know he is the bad guy but he lures you in every single time he becomes the evil man. Even though the early impressions of paratai and Ramanathan were fabulous my eternal favourite has to be the one role he played after he became a hero – Chakravarthy from Netrikan – he is delightfully charming as the evergreen playboy.

In this one too he is unapologetic until the very end where a forced apology note is handed out to appease our conservative audience. That he is pitted against Sarita and himself makes it even more enticing. The son is almost non-existent until that pivotal confrontation scene. Moondru Mudichu is another non-conventional film where the anti-hero of the first half gets a taste of his own medicine when he is cornered by the unforeseen turn of events. Mana vinaigal yarudono still makes me shiver in fear. Perhaps we have lured him into the safe template by letting go of the bad guy. Is it a boon or a bane? Frankly, I don’t have answers.


The Star

As I said earlier Rajini silently shattered the norms set out for Tamil Cinema’s leading hero. He wasn’t fair skinned. He was dark, unconventional and rugged. He was essentially an outsider who went on to become the ideal manifestation of all our suppressed emotions. He was a version of the angry young man. No other leading hero consistently aped Amithabh as perfectly as Rajini did. A string of lone crusader films where he became the voice on behalf of the whole. Even as he was surging forward- a sudden diversion stunned us all. Thillu Mullu a film which took us by surprise and caught us off guard. In hindsight, the film would have surprised Rajini himself. He discovered something beyond style and action. He discovered the childish innocence blended with ample doses of humour, with that, he had unwittingly laid down the perfect formula for a mass hero. A formula which still holds good.

Thankfully he didn’t try to be MGR. MGR was a different phenomenon who could not be replicated. Rajini carved his own niche with style and substance until he discovered the template which is still the industry benchmark. Everybody has tried to ape his style with little or no success. The number of times the Baasha template has been repeated says it all. The only hero who has been reasonably successful with this formula among today’s heroes is Vijay. But the one who laid the benchmark for entertainment is Rajini.

The Superstar

He had already become a superstar but the one film which reaffirmed this fact was Annamalai. The trademark superstar music. The scene where he walks in as the new president signalled the passing the baton from MGR to Rajinikanth. The superstar became the rightful heir to MGR’s throne as the undisputable king of the box office. I adore Baasha but the euphoria before and after Annamalai was unmatched. I saw it 4 times in theatres just for that one scene. He crushed box office records with each film. It was during this period that he consistently broke the fourth wall to talk to his audience. Every film became a festival as he became more and more elusive.

For me, this wave lasted until Shivaji. That was the last true Rajini Film. Every other film after that has been an unnecessary stretch aimed at capitalizing brand Rajini. Though there is absolute pleasure in seeing Rajini on screen. The euphoria and the excitement has been missing for a while. Are we treating him like the goose that lays golden eggs or does he still has it in him? I believe he will have his last hurrah with Kala.

Thank you for entertaining us all these years. Happy Birthday Superstar.

#HBDSuperstar #HBDRajinikanth




Child stars usually fizzle out once they reach adulthood. Either they get consumed by early fame or they alienate themselves from Hollywood once they become adults.  Scarlett Johansson is one of the few actresses who are still relevant and going strong with some wise choices to random experimental roles.

Imagine being just an eye candy in an ensemble of superheroes. How do you stand out? How do you make a mark? Her voice – that sexy sultry voice which compensates for all that is missing on screen. The way she says “I don’t see how that’s a party” with that blank look on her face even as the hulk unleashes the beast in him. To me that was my favourite moment in the Marvel Superhero franchise.  To be frank the Black Widow is a great disservice to a talented actress.  I wish Marvel made a movie where Black Widow isn’t just a side kick.

All said and done I love Scarlett for her roles in smaller films where her presence gives the film the push that it needs. My favourite Scarlett film is the relatively unknown The Nanny Diaries. She’s splendid as the nanny who struggles like a fish out of water in a sophisticated household. The presence of Laura Linney and Chris Evans is an added bonus.  Who would have known back then that these two would eventually don the roles of Black Widow and Captain America.

You want to give life to an unlikely relationship between a man and his computer. No worries. Call on Scarlett. Her voice is a gift from heaven for all die hard movie buff.  Her physical presence is a mere bluff more like a decoration to hide the one true thing that sets her apart.  Right from being a regular in Woody Allen’s ensembles to taking random gambles with smaller films which give her the scope to experiment to being a part one of the greatest screen superhero team. She’s done it all.

Happy Birthday Scarlett. Keep mesmerizing us with that lovely voice of yours.


For most people Parvathy is just an actress but to me she’s a mystery. In a country boasting of wannabe Queens here is someone who is effortlessly changing the dimensions of India’s leading lady.

Parvathy is an irresistible obsession these days. No other actress of the current lot has fascinated me this much. What makes her so different? What makes her tick? It always seems like she lives in an alternate cinema universe where none of her co-stars or the camera exist. It is always her and the audience.

She’s like that fascinating trip to dreamland for a movie buff like me. She’s like a trip that never ends, a trip that leaves a lasting impression beyond the echoes of the big screen. She almost always starts off as a stranger when the frame freezes to capture her first shot in a movie. You almost begin to wonder if it’s the same actress you saw in the other movie. But that’s the first step towards a wonderful transformation.

Slowly but steadily she sneaks into your soul and catches you off guard even as your eyes remain glued to the big screen. It’s like watching a magnificent piece of art mould itself. By the time the end credits roll that stranger whom you came across at the beginning is no longer there. You embrace and empathize with an entirely different person .She becomes someone you know. She becomes the person that you aspire to be.

As much as I admire Kangana and Vidya Balan they are almost always in your face. As an audience you know they are making an effort to be different. But Parvathy is different she can be anyone you want her to be. It’s like watching a magnificent piece of art mould itself with ease. The way she makes the audience empathize with the characters she plays on screen is astonishing. She’s always ready, always prepared to up her game a notch irrespective of who her co-star is.

Take Charlie for instance it’s a chauvinistic film which revolves around a male wanderer. But Parvathy makes you root for Tessa’s pursuit right from the start. Poo literally stunned me when I first watched it. Maryan and Ennu Ninte Moideen were beautiful. But it is always Sarah who is close to my heart.

Sarah of Banglore Days is an exception to all exceptions. A rare portrayal with a lot of heart and depth. And finally take off which is a beautiful ode to everything that Parvathy is as an actress.

From Gayathri to Sameera it’s been one hell of a ride with different personalities who are daring enough to give celluloid the shades it rightly deserves. The way she makes use of her eyes to fill the silent spaces in a narrative is a movie buff’s delight. Perhaps those eyes are her secret weapons which enable her to decode the transformation in a character’s arc and reach out to her audience.

In a space filled with numerous imitations aspiring to be number one it is heart warming to see someone so real and authentic walking away with a deserving applause every time she comes on screen.

I bow to thee my goddess





The Beginning

It was 2006. My eyes were glued to a supposed comic film. A film which tried to highlight the comic side of actor Madhavan and failed miserably. The only redemption was Vaigai Puyal Vadivelu. But someone else caught my eye.  An unknown actress was scorching the screen.  Mobilea song was instant addiction not for the music but for that actress who seemed to have descended straight from heaven. Those seductive eyes and perfectly chiseled frame are one of those memories which will stand the test of time. Calling her a crush would be an understatement. She was love. She was the heavenly beauty.  I still didn’t know her name but there was a constant yearning to see more of her on screen.  Even Sundar C wouldn’t have imagined such a long innings for the actress when he introduced her to Tamil Cinema. But introducing her was one of the best things that Sundar C ever did as a director. It was an accident waiting to happen. A sweet unexpected accident.  An accident named Sweety.

The Arrival

Tamil Cinema has this bad habit of letting go of talented heroines after the first glimpse. We tend to wait until that breakout role happens. I guess it’s an eternal habit. Sweety disappears for 3 years to become one of the leading ladies in Telugu Cinema. She didn’t have to do much though. But her presence was an irresistible attraction to lure the audience. All she needed was that one defining film to take the first steps towards superstardom. That film was Arundhati . Arundhati stunned everyone. It wasn’t just a film. It was a storm which completely swept regional cinema. Suddenly one name was on everybody’s lips – Anushka Shetty . Makers were rushing to her doorsteps to cast her in their films I wouldn’t blame them. Arundhati had power and strength written all over it despite the supernatural angle.  There was no stopping Anushka from that point. She resurfaced as Illaya Thalapathy’s lady love in Vettaikaran. The film wouldn’t feature in anybody’s favourite list but Anushka’s dance moves in the songs are unforgettable. The star had just arrived.

The Star

She found the right balance at this point by effortlessly slipping into her actress and seductress avatars whenever she wanted. We knew the seductress before.  It was time for us to know the actress.  Films like Vedam, Deiva Thirumagal , Irandam Ulagam were carefully spaced out between her glamorous avatars. She was quietly making a difference one role at a time. There were no loud screams or tags or loud applause to crown her achievements. But a silent transition was happening. She began to decorate her role with subtle emotions and finesse.  She knew how to make her presence felt even in an ensemble like Vaanam. Deiva Thirumagal pitted her against Vikram and she won us over with an understated portrayal.  Even in Size Zero she debunked all the myths about being fat by sprinkling the role with her own charm and sexiness. Yennai Arindhal made her yearn for her man just the way I yearn for her presence. I sometimes wish the makers who remade Vikramarkudu had cast her in all the remakes. Nobody comes even remotely close to reprising her role.  My favourite though is Irandam Ulagam where Selva attempts for a role reversal of sorts with Anushka’s character.  Though the film was underwhelming her presence saved the film to a certain extent. The bankable star slowly transformed into a fine performer.

The Queen

It was time for the whole of India to take notice.  The Bahubali franchise wasn’t about Bahubali.  The narration was woven in such a way that every incident in the movie revolved around Deva’s oath and her actions. Rajamouli should have named the franchise Devasena instead of Bahubali. Despite appearing in two different avatars the firmness befitting a queen remains intact throughout the franchise. She holds on to her principles despite the ups and downs in her life.  The whole of India was glued and rightly so for the queen was quietly claiming what was rightly hers. The throne of the lady superstar belonged to the queen South Cinema. She didn’t need a tag or the constant adoration that comes with it. She didn’t need that at all. She had already carved a niche for herself without too much fuss. The fact that she had shared Screen space with the superstar is a perfect icing on the cake. Only one wish remains to see her with the legend who shares her birthday.

Happy Birthday to the one who stole my heart. Long live the queen!




50 first dates will remain one of my sweetest teenage memories. That was the phase when Adam Sandler was extremely likable and Drew Barrymore was steadily stealing our hearts with a string of charming performances. It is one of those movies which will tug your heartstrings as the two leads re-discover love again and again. I will let Lucy and Henry take over from here.


Dear Henry,

I wake up every day not knowing what the day has in store for me. Is it a never-ending stretch or a never-ending happily ever after? I choose to embrace the latter.  Life has given me that rare chance of filling the blank spaces with traces of love each and every day.  I don’t have to yearn for surprises and sweet nothings. Every day is a surprise, a new adventure filled with the abundance of love.

Every day is a fresh start and a brand new attempt at re-writing our love story in a million different ways. I often wonder why you chose to hold on to me for eternity despite the fact that you have to start from the scratch every single day but then the heart seldom seeks a reason to hold on to love. 

I seldom have to worry about what my life has in store for us in the long run. For us, future is a myth.  It’s always one day at a time as we sprinkle our lives with doses of love.  I have chosen to embrace the surprises that life has in store for us between sunrise and sunset.

I know I will wake up tomorrow not knowing who you are but I will be waiting to make me fall in love with you again.



Dear LUCY,

Life can be bliss when love manifests itself in different ways every single day.  I wait for that moment when your eyes for the day.  It reminds me that we just finished one single chapter in a never-ending love story. The best part I won’t have to re-visit the same chapter again.

I don’t have to re-live the same day twice and life will never be an endless stretch of boredom.  Beyond the uncertainty that awaits us each day there’s a strong thread of hope that binds us together. Our kid will never yearn for love for all the different dimensions of love will unfold within her as she grows up.

Someday I won’t be there and neither will you but the traces of love that we have left behind will remain as permanent impressions for the people around us.  Let’s hold on to each other and embrace the sunshine until sunset greets us together for one final time.




Rakshadhikari Baiju Oppu – MOVIE REVIEW


Rakshadhikari Baiju Oppu was a pleasant surprise. I didn’t hear much about the film when it came out. There was no warning or the usual critically acclaimed label to warrant a watch on the big screen. There was a positive buzz but nobody screamed that it was an outstanding film. Baiju caught me off guard. 

It was simple, sweet and soul-stirring. I would even call it the best Malayalam of the year so far.  For starters, Baiju’s experiences aren’t alien.  Baiju’s life is a perfect ode to those unfulfilled wishes we have within ourselves. It is an ideal representation of the pauses we yearn for ourselves. In short, we all aspire to be in Baiju’s shoes at one point or another.

There’s no rush or commotion as we travel along with Baiju and his quirky group of friends. It is almost as if Baiju has a lot of time in his hands to cherish the inherent simplicity of life. To the naked eye, Baiju is an overgrown man who thrives on nostalgia. But there’s more to this tale than what meets the eye. There’s a simple soul which effortlessly lives it up. You don’t need a lot of to keep you happy.  Just a simple existence where you don’t have to fit in with the rest of the participants will do just fine.

Baiju’s world explores how affinity to a particular place can instil a sense of belonging and togetherness to members of a particular community. The place becomes a part of their identity. The place becomes a part of their daily existence.  The place and the person are inseparable. As kids, we all had that one place which we loved visiting again and again. The memories remain fresh even to this day.

Baiju’s world thrives on these memories. This is one film which I didn’t want to end. Do yourself a favour this weekend.  If you have nothing else to do live Baiju’



Godha is a glorious surprise.  I knew the film would be good but it turned out to be a wonderful lesson on smart film making. It is yet another sports film but what stood out was the simple narration. The film is just 2 hours but it has traces of Woman Empowerment. Inclusion, Individual Aspirations, and Collective Strength. Godha addresses all of these topics yet it never tires the audience.

The Joie d verve touches you at the beginning of the film remains intact till the very end. And for once there is no gender bias when it comes to empowerment.  The yearning for an equal space finds a lovely voice in the film.

The film doesn’t scream to make a statement. Godha isn’t in your face either. It is smart, funny and subtle with pearls at the right places to drive home the messages scattered across the two hours. The warmth that embraces you when the end credits roll stays with you for a very long time.  

Another major plus is the way the creators amplify the locality to draw the audience into the narrative. Malayalam cinema has been fairly consistent in this aspect over the years. Almost every story has a local flavor to it which is very distinct and helps in establishing the characters as well.

Godha pairs up two unconventional fresh protagonists and both Tovino Thomas and Wamiqa Gabbi play to their strengths and perform well. Tovino Thomas might just be the next big thing in Malayalam Cinema. Wamiqa Gabbi is the surprise package in the film. She was splendid in Malai Nerathu Mayakkkam and with Godha she scores once again. Music by Shaan Rahman and cinematography by Vishnu Sarma blend well with the mood of the film.

And then there’s the small detail of Renji Panikar once again coming up with a top-notch performance. Kudos to Basil Joseph and team for a well-made film. What baffles me time and again is why other industries aren’t able to replicate the simple storytelling pattern of Malayalam Cinema. The scale isn’t big yet they consistently deliver in terms of content and a big fat salute for the same. I know most of you wouldn’t have watched this in theatres. But do catch it on DVD. A must watch,

Godha – Punches above it’s weight.


Taramani – A film which I loved and hated all at once. A film which starts off with great promise but falls way short of being one of those memorable love stories which we will cherish forever.

Ram gets his women right which deserves a huge round of applause but he gets his men horribly wrong which sort of nullifies the joy that we get from celebrating the imperfections of the women on-screen. The men are half boils who don’t deserve to exist.

The first half sets it up so beautifully but the second half goes on and on and on until it exhausted me. You know your destination is Taramani and board your mode of transport in the hope of reaching there soon but the driver travels the entire city before reaching Taramani instead of opting for the shortest route.

The problem with Taramani is that it deviates too much from the central conflict with too many sub plots which convey too many things all at once.

I find it hard to understand why our creators find it very difficult to write roles where you don’t have to pull down the characters from one gender to elevate the other gender. Why can’t the cry for an equal footing translate on screen too? 

Yuvan’s music is soulful though I am not a big fan of the composer rendering most of his songs. Sreekar Prasad could have done a better job by chopping off scenes which stretch endlessly. The cinematography by Theni Easwar is eye catching. Ram’s voice overs pack a punch where he is brutally honest regarding the things that matter to him.

Andrea gets a meaty role and does a decent job. The debutant Vasanth Ravi tries to do what he can to salvage a half baked character sketch.

The second half screams self-indulgence and that’s where it falls way short of what it could have been. Ram the director impresses in parts but is largely unsure of the journey he wants to undertake. 

Taramani is a plausible decent one-time watch – Nothing more nothing less.



 I would love to say LIPSTICK UNDER MY BURKHA a great film but it ends up being yet another plausible film which is saved by a great cast and good performances.

Oh yes, the conflicts that arise when a woman yearns for sex does evoke interest especially when you see it in four different dimensions but after a point, it goes on and on ultimately leading to a finale where the conflict remains as it is without a proper closure. It is as if the creators opted for a safe landing when there was an option to go all out

All the 4 ladies do their best to elevate the film. It is always a pleasure to see Ratna Pathak and Konkana Sen Sharma perform. Ratna Pathak earns the viewer’s empathy as the older woman. Her role is an echo of how the Indian society views sex. It is almost a taboo to yearn for sex irrespective of how badly your body needs it.

If the film had replicated the execution of Ratna Pathak’s portion it would have been one of those spectacular films that we would be raving about. But it falls well short

But kudos for the thought process which alone makes it a worthy one time watch. But lipstick didn’t give me a sense of fulfillment like Parched did. Parched was a complete film.

You don’t settle for a moan when there is an option of screaming in pleasure. But lipstick Under My Burkha is just a moan.



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