The following review is by a user and isn't IndiaGlitz's take towards anyone or anything. Written by Ramesh Ganapathy
Indian cinema has undergone the ages and has undergone an excessive amount of retrospect to supply for everybody. While South India has get a hold of a large number of promising flicks, it's still removed from perfect, especially now with movies flocking theatre halls every weekend. Secretly behind the scenes, there are highly driven and talented directors, scared yet influential distributors and producers who can weave around them for profit.
Amidst all this, however, a couple of have arise battling against odds and establishing their very own markets, and types that experience significantly impacted the way in which people around them and everywhere checked out cinema (even film schedules after a definite point of time). Today we glance at two such directors, Mr. S.Shankar and Mr. S.S.Rajamouli. I THINK most people have heard of them, but a couple of introductions are in order, nonetheless.
Both these men are recognized well in a minimum of South India, if not in it's fullest. It's obvious they've been very successful. Either one of them have get a hold of the blockbuster hits (biggest numbers in South Indian Cinema, to be precise) in the course of time - Endhiran for Shankar and Maghadheera for Rajamouli. They both take pleasure in making commercialized movies (one maybe greater than the other), and so they both appear to be sharing the same love for using lighting tricks of their movies. But are they truly perfect and after we put them head to head, which one goes to return on top?
Let's take a better take a look at our man Shankar. He often is the highest paid director in India today, but his journey was long. Unlike directors who appear and disappear, Shankar didn't take long to make his mark. His first film, Gentleman shot him to fame and earned him two Best Director awards. His career followed up with more success stories in Kaadhalan, Indian, Sivaji, Anniyan and Endhiran. Even his latest of the pack, Nanban is a blockbuster. However, there are two small dents within the form "Naayak" and "Boys" which did not prove so well for Shankar. A MORE IN-DEPTH have a look at his movies explains why.
All of Shankar's movies cope with a countrywide issue, something that needs a large number of attention. In each of his attempts, he tries to get on the subject of a solution that never approaches India. The truth that his movies have such a lot commercialism is weird, especially the way in which the lead character can switch between being an informal heroine wooer into someone who can't tolerate injustice scene after scene. Even more, the audiences appear to love the way in which he goes about it. Highly expensive sets, never before seen (in Tamil cinema) lighting tricks and action sequences that keep us wondering in the event that they are even possible, are trademark Shankar attributes. This seems to be his success formula and he doesn't really need (or intend on) giving up.
On the opposite side, we have now Rajamouli who came out of a family of means, a lot of whom were part of cinema. However, it took him 8 long years before he could find the appropriate pair of brogues. His debut came in 2001 with Junior NTR's Student Number one. and it became a roaring hit. While Shankar enjoyed an excellent quicker rise to fame, Rajamouli had big releases follow up one at a time within a brief time period. Sye, Chatrapathi, Vikramakudu and Yamadonga all continued his success story and by then, this man had gotten numerous attention. Then came the mum of all Telugu films, Maghadheera, in 2009 which sealed his success in Tollywood.
While the previous serious about nationalistic tops, Rajamouli was more into straightforward commercialism. He made no attempts to cover it and in each of his movies, and it usually turned out and impressed audiences. Visuals and sets in fact greatly praised, especially in Yamadonga and Maghadheera and movies went directly to become blockbusters even if they lacked the catchiness of a Shankar movie (which also saw huge success when dubbed into Telugu). This calls to doubt whether his attempts would became as successful in the event that they were made for a distinct form of audience. The solution came within the type of Eega (Naan Ee in Tamil)which was released both in Tollywood and Kollywood and got good reviews.
In an immediate comparison, Shankar and Rajamouli seem to share a large number of similar aspects. They enjoy making exquisite songs that involve spending some huge cash and so they don't mind having an excellent amount of action of their movies. But even if they've almost the similar selection of movies (11 for Shankar and 9 for Rajamouli), it does appear quite clearly that Shankar is the leading horse here. He does seem to play the ropes quite well and knows exactly the right way to use his heroes impressing audiences across classes. Rajamouli while playing catch up has seen enough success (with none dents if truth be told.) When he starts making more multi-lingual films, will probably be more fun to peer sums up. Seems like these guys are gonna continue to make commercial films after all.
So what do you're thinking that? Can these guys learn something from one another? Who, in line with you, is better?
This article was inspired by the work done by Saravana Kumaran
