Dharala Prabhu Movie Review

Dharala Prabhu Movie Review



Harish Kalyan ,Tanya Hope  ,Vivek  ,Anupama  ,Sachu  ,R. S. Shivaji ,Madhuvanti Arun  ,Namo Narayana  ,Siddharth Venkataraman  ,Nanditha Sreekumar  ,Baby Nikitha  ,Prasanna Rajagopalan  ,Lavanya Venugopal  ,Prashant R  Navya Sujji  etc.


Direction – Krishna Marimuthu ,Music – Anirudh Ravichander,Sean Roldan,Vivek-Mervin,Inno Genga,Madley Blues Bharath Shankar,Kaber Vasuki,Oorka,Production company -Screen Scene Media Entertainment


Dharala Prabhu is a Tamil romantic comedy movie directed by Krishna Marimuthu. The movie produced by Scre en Scene Entertainment. The movie stars Harish Kalyan, Tanya Hope, and Vivek in the lead roles. The soundt racks were composed by multiple music directors Anirudh Ravichander, Bharath Sankar, Inno Genga, Kaber Vasu ki, Madley Blues, Oorka – The band, Sean Roldan, Vivek – Mervin and background score by Bharath Sankar. The cinematography and editing were handled by Selva Kumar SK and Kripakaran respectively. Dharala Prabhu is an official remake of blockbuster Hindi movie Vicky Donor, also the movie remade in Telugu titled Naruda Donoruda. The movie Vicky Donor also won the National Film Award for Best Popular Film Providing Whole some Entertainment at the 60th National Film Awards.

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Movie Review-;

When I heard that Dharala Prabhu was a remake of Shoojit Sircar‘s Vicky Donor, I knew it wouldn’t be an exact remake. “Tamil sensibilities” — at least as perceived by the industry — are different, after all. So I expected a fair amount of sanitising in this story of an ultra-virile footballer who becomes a sperm donor. (In other words, his new job, too, is about hitting the target, ova and ova again.) But the director, Krishna Marimuthu, springs a surp rise. His film is at once an homage to the original and a quietly radical reworking of it. This isn’t a case of “let’s spray Harpic on the toilet humour and make the premise safe for our family audiences…” You know how, some times, we watch something and wonder, “What if…!” That’s what Krishna has done. He has explored the old pre mise with a fresh pair of eyes, and with a very different sensibility.Vivekh plays the fertility specialist, a Kannad asan fan named… Kannadasan. (Key songs of the great poet, like Manaivi amaivadhellam, pop up at key momen ts.) One of the biggest leaps of faith the narrative asks of us is to accept that moneyed couples would visit this rundown clinic for a super-expensive (and super-complicated) procedure — but like Annu Kapoor in the Hindi film, Vivekh is so endearingly hammy that the leap is easily made. Kannadasan finds Prabhu (Harish Kalyan), and they begin to make money, well, hand over fist.

This aspect is treated with utter dignity. There’s no nudge-nudge scene of Prabhu in a room filled with porn, loo king at the plastic container in his hand as Tom and Jerry sounds explode on the soundtrack. This is a mast urba tion movie you can take your grandmother to — everything is exquisitely subtle. Nidhi (Tanya Hope) is the love interest. The first meeting is a mini-symphony of gestures and reaction shots. (The superb editing is by Kripak aran Purushothaman.) You think the second meeting (in a theatre) or the third one (by the beach) would accelera te the rhythms of this romance. Instead, we get a cautious “getting to know you” graph.There’s no rom-com cutesiness. Neither is there a “single pasanga” friend, interrupting the proceedings with constant wisecrac ks about how Prabhu should handle this “figure”. The relationship breathes. It feels so organic, it could be bottled and sold by 24 Mantra. And gradually, we see the reason behind this reserve. Nidhi comes with baggage, so she’s wary about another relationship. Her character arc — shaped by the writers (the director, with Super Subu and Sudharshan Narasimhan), and aided by Tanya’s measured performance — is wonderful.

Nidhi slowly blossoms, and by the time she marries Prabhu, she turns into a firecracker on the dance floor. Haris h Kalyan Plays A Sperm Donor In A Dignified, Beautifully Made DramaOne of the first things that get asked of a remake is how faithful it is to the original. The incessant comparison with the original version is a curse of the remake. It is a shadow the new film usually cannot escape from. Perhaps this is why remakes rarely try to step away from the universe of the first film. A refreshing example of a remake that pleasantly surprised was Simmba —the energy an over-the-top Ranveer Singh and Rohit Shetty created were entertaining. While not as effective, director Krishna Marimuthu, with Dharala Prabhu, still gives a fairly likeable remake of the very popular Vicky Donor.The film isn’t a frame-by-frame adaptation. I liked that Krishna Marimuthu and his writers (Subu / Sudh arshan Narasimhan) have largely retained the ethos of Vicky Donor, albeit with a South-Indian twist. Prabhu (Harish Kalyan) begins donating sperm not because he wants ‘pocket money’ like Vicky does, but because he thinks of it as a ‘good deed’. Dr. Kannadasan (Vivekh) doesn’t just find his ‘Dharala Prabhu’ by accident.

There’s a thorough check on his habits and routine. (They could have avoided the Raja Parambarai angle.) Pra bhu’s mother (Anupama Kumar) and grandmother (Sachu) don’t bond over alcohol; here, they do over cards. Even the Prabhu-Kannadasan dynamic has been tweaked to a more involved equation that is almost father-son like, to suit the personas of Harish Kalyan and Vivekh.Not all of these tweaks land as effectively as they should though. Take the Prabhu-Nidhi (Tanya Hope) relationship. The couple has memorable standalone moments, like whe n Nidhi takes him along to a wedding because she doesn’t want to go alone and bear the brunt of unnece ssa ry questions. In another Tamil film, the girl would have been crucified for being an ‘opportunist’. Here, Prabhu instead says, “Well, you have told me that you feel safe with me, and also, that you are single.” Or how about wh en Nidhi says that she earns enough to ensure that they have a comfortable life? However, the charm of these occasional moments don’t translate into sparkling chemistry; Kannadasan and Kama (RS Shivaji) share more exciting chemistry than the couple. (Not to mention, Prabhu-Nidhi relationship begins on shaky ground)

The thread around Prabhu and his relationship with his coach also feels very contrived.Also, the film’s prod uct ion and art design look a bit too sleek for my comfort. If a lower-middle-class family can afford to run a parlour and house that looks as good, I should probably reconsider my career options. On the other hand, the clinic, a more appropriate choice to reflect some sophistication, looks a tad shady. It is this intermittent superficiality th at hampers Dharala Prabhu. While Harish Kalyan pulls his weight, for the most part, the film also needed a more dynamic female lead. Tanya Hope looks pretty but adds little to her character.Vivekh as the self-depr eca ting, relentless Dr. Kannadasan is probably Dharala Prabhu’s biggest strength. An in-form Vivekh makes this ride tho roughly enjoyable with a lot of throwbacks to his classic antics. I swear I laughed out loud when Vivekh says, “Ett u la sani, Mount Road la guni”, when someone asks him why he isn’t married. There is a lot of clever writing in the humour that plays to Vivekh’s strength of memorable one-liners. (Watch out for the one with the ‘bell icon’). It reminded me of an era that used our comedians also as character actors. Our senior actors aced on both counts, and also provided a lot more depth to their characters, than they are able to in recent times

The mosaic soundtrack was another pleasant surprise. Being an ardent follower of all the eight artists involved, it was nice to hear all of their work seamlessly blend into one another.There’s also a lot of self-awareness in Dh arala Prabhu (I liked how Krishna Marimuthu slipped in a gaffe about himself and also sneaked in a lesbian cou ple). It is indicative of someone clear about his restrictions and his strengths. Had the film been more consistent though, it would have been a bigger winnerVery deceptively, very casually, Dharala Prabhu addresses a number of issues without making them feel like “issues” (i.e. there are no lectures). The issue of the “virgin heroine”. The issue of mothers wrestling with a career. The issue of a middle-class guy and an upper-class girl. The issue of surrogacy. The small shame that (still) comes with the fact that you have to rely on another man to have a child. Or — in one of the most brilliant insights — how adoption can feel from a female perspective. A woman usually has 10 months to “prepare” herself for motherhood. Isn’t it natural then, to feel some fear when you’re walking into an adoption agency, where a “readymade” child awaits you?Even the central issue is treated with lightness. If, for some reason, your wife can’t cook one day, you order in food, right? Using a sperm donor is not very different.

If these throwaway bits feel revolutionary, it’s because Tamil cinema usually makes such a big deal about them. (Th e brilliantly textured background score doesn’t make a big deal, either.) When a man admits that his male ego prevented him from using a sperm donor, or when even a relatively open-minded single mother (Anupama Kum ar) expresses reservations about adoption, we see how much thought and sensitivity have gone into the writing. Like in life, one decision results in endless ramifications.Nothing is over-emphasised, whether it’s a “cool” gran dmother (Sachu) or a lesbian couple or the discreet zooms of cinematographer SK Selvakumar. This is not a film that shouts from the rooftops about its technique or that it’s breaking taboos. It internalises its issues, and even the “twists” are a natural offshoot of the premise. The only really off scene is when Prabhu’s and Nidhi’s families begin to bicker about the wedding arrangements — for a couple of minutes, there is a stale sit-com feel — othe rwise, even the out-there contrivances (involving a cop, or the too-easy way a child adjusts to a new household) are handled with conviction and feeling.

Perhaps the only real reservation I had was the unvarying tonality. I loved the film’s subtlety, but when every character and development comes with a hushed “classiness”, it begins to feel like being in a five-star spa resou nding gently with Far Eastern music. (And maybe some of the characters, like the girl with a crush on Prabhu, could have been axed to bring down the running time.) But this is a very small complaint in such a well-thought out and well-made film. I’m thinking about the spectacularly edited stretch that echoes an earlier scene on a beach, with a wandering child and a father whose attention is distracted by a phone call. While the entire sequ ence is superb, it soars to a totally different plane when an element of spirituality and destiny creeps in.And what about Prabhu? This is Harish Kalyan’s best outing after Pyaar Prema Kaadhal. In that film, though, his role was overshadowed by that of the heroine. Here, he finally gets to shine. Like the rest of Dharala Prabhu, nothing about this character (or the actor’s performance) is overdone. Prabhu feels refreshingly real — someone thought through as a person, from the inside, and not as someone who’s there simply to drive a plot along. Take the scene where he realises that an outing with Nidhi is not the “date” he imagined it to be. His face falls for an instant, just an instant, but he’s happy that she feels safe with him. His super sperm count is just a macho statistic. A scene like this is what really makes him a man.

This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only

Written By- T.H.PRASAD -B4U-Ratting-4 /5