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Before starting the review, one declaration – I do not follow Tulu and Konkani. (Correction: Sharath Bhat and @SumneGuru point out that the language used in some songs is Kundapura Kannada) This is the handicap I faced while reviewing this album. Apart from this, I haven’t listened to much of world music, hence I won’t be able to point out the genres perfectly. I downloaded all the songs from Hungama.com and it cost me just Rs.12 for the whole album. I had this idea that we should have the freedom to download Kannada songs online after paying money. I was deeply disappointed when Flipkart flyte store stopped mp3 downloads. Happy now that Hungama has allowed this. However, one shortcoming is that the songs are available at 128 kbps. One more problem with this dematerialised music downloads is that the name of the lyricist is not mentioned in the ID tags. Forget about music download online, Kannada audio companies do not have websites that provide details of the songs like singers, lyricist etc. I am not sure who all wrote the lyrics, but sure that Rakshit Shetty himself penned a couple of them. B. Ajaneesh Loknath has composed the music.
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1. Kaakig Banna – Personally, this song has been my pick. I am one person who gets irritated with every monotonous song having Shreya Ghoshal’s voice and same style of singing. However, this song does what “Chikni Chameli” did to her in Hindi (chikni proved that she could turn naughty with her voice). Usage of Shreya’s voice in Kaakig Banna is totally justified; not sure if other singers could have done this so well. This song isn’t easy as one thinks. Lot of fine voice modulation and hard work has been put by Shreya. She has put emotions into many words. For example, she gives a nasha feeling when she sings “bhange sendid thali”. As I mentioned in the beginning, I was unable to follow the Tulu / Konkani lyrics here. If I knew the language, I could have given better insights into this song. The best part of the song is when Shreya Sings “tyao tyaoo tada taa” … her modulation, accent and style is just sssssexy. SPB voice has the strength that reduced the burden of actors (like telugu Balayya!) in putting intense violent emotions on screen. I’m sure this song has been picturised on Sheetal Shetty. This song would give a new dimension to her on-screen presence. I feel this song is placed in the movie when Sheetal as a reporter does investigative journalism and as this song plays, it probably unfurls the story. I think “kaaki” is crow. There is some crow sound in the beginning and somewhere in between the crow sound is echoed. Not sure what this sound symbolises in the movie. I do not know to what genre I can classify this song as. The words I get are – spying, investigate, search, silence, careful. Now I recall the video of Sheetal Shetty speaking and I feel Shreya’s singing style will just fit into Sheetal’s mouth movement. The instruments are used in a “controlled” style.
2. Kanna Muchche – The beginning BGM somehow reminds me of Swades movie. Don’t know why… Sawariya first BGM? I don’t say copy, just the feel! (Please don’t confuse.) Slowly starts the female voice… Aaah! it’s Vaani Harikrishna. What a fine singer she is. Observe the quality of her voice. Its a fine voice. Kannada has this talent. This lady’s embodies all that mamathe whenever she ends some of the words. Observe when she sings the word “kangalu”. Shankar Mahadevan is good as usual. But, I would have been happy if some other local singer was used instead of him. I somehow feel “tamilish” when he sings certain words. The background strings / group violins are good enough. Producers have spent on this. Apart from Vani, two more highlights of the song are – (1) the chorus from 3:35. and (2) swara alaapa from 4:14. Not sure if they recorded both the artists parallely. Vani, in my honest opinion wins over Shankar in this alaapa. Anyway, producers have paid a handsome money to Shankar Mahadevan, they could have hired Raghu Dixit instead. Not that Shankar is bad. Its my personal opinion that a better Kannada local talent would have done Shankar’s work.
3. Knock Knock – this is not a full fledge song, but a bit. Guitars are the highlight of the song. One more highlight is the new music director Bobby C.R. One more “controlled” song. Bobby also does an extremely controlled singing. Not the usual format of one pallavi, one charana. In this aspect, other two songs also do not comply to the usual format. The lyrics are mysterious. Leaves me wondering what’s the song all about. One thing I realised for the sure – the importance of the DOOR in the movie. After hearing Bobby’s voice, I have this urge to listen to her compositions. Oflate, I haven’t purchased any music album (since Lucia).
4. Male Maretu – Starts with sarod strings. This song seems to be set in a similar raga as the song “devaru hoseda premada daara” from the film Muttina Haara. Somewhere slightly this song reminds me of Muttina Haara song. But, then this song is completely different. Lyrics are philosophical. I haven’t given full attention to the lyrics yet. Will have to listen many more times. As I was writing this, I listened to the lyrics and still I do not get the philosophy. When it comes to background, there’s a background pattern in organ (harmonium and accordion) that echoes the voice. This organ pattern sustains all over the song till the end. There’s a song in the TS Nagabharana movie “Mysooru Mallige” that employs a similar interval of silence. There’s pain and irony in this song. Need to look into the lyrics text to understand the meaning completely.
5. Paper Paper Medicine Paper – Once Rakshit in some social media platform told about what this “medicine paper” is all about. Cannot recall. Still wondering what this song is all about. Two boys – Mallesh Hugar and Puttaraj Hugar have been given “full freedom” to sing a raw song. As the song proceeds, I realise that surely surely, Rakshit had in his mind – “chi cha leather” song from Gangs of Wasseypur. If you like “paper paper” song, don’t miss listening to Wasseypur song. In Wasseypur song, Sneha Khanwalkar takes the song to a zenith point. Paper paper song again breaks the usual format. It has some dialogues that are processed with filters that gives the feeling of moving images of memories / flashbacks. Special CLAPS to both the boys for singing on top of their voice in highest pitch. I am sure Rakshith got them their favourite food for the boys after recording this song.
6. Richie’s theme – The theme starts with the James Bond notes and you may never have expected…………. it continues withe flute that sings “baagilanu teredu, seveyanu kodo hariye”. Wait, Kanakadaasa’s episode happened in Udupi Shri Krishna temple. Movie is set around the same area. The devotional flute is again overlapped with the 70s Hindi music. There’s the famous dialogue “phata poster nikla hero”. There is the sound of a Church bell. So many 70s hindi movie scenes of Amitabh Bachahan pass over our memory. Now *whistles* SHOOT MAADBEKA appears 🙂 When I say James Bond notes, only those 4 notes are used and the rest is original. Ajaneesh has tried to give us the feel without copying the things. When it comes to the beats, the “thakiDthaa” type beats repeat several times. There is trumpet, guitars. Total energetic theme.
7. The Final Showdown – this theme starts with the silent flute. Slowly, many more instruments join the race. There’s one bit of flute that aptly dramatises the tiger’s hunting in slow motion in musical form (if you can imagine this). There is maddale-chende beats. Several pipe instruments continue the theme. At a point these pipe instruments remind me of Kodava music. Then there are guitars, followed bugle, again oboe type sound. The maddale sound stops, the pipe continues.
8. Theme of Ulidavaru Kandante – This theme is notable for the “sound design”. Observe yourself how many sounds have been recreated. I cannot just explain the sounds in words – sea gushing, fishermen speaking, turning of the wheel and so many other sounds. At 1:53, the theme gains life with a high pitch bugle. Again at 2.20, there’s a twist in the theme with the guitar.
9. UK Promotional Song – The credits do not mention the name of the singer. But, I am mostly sure it is Rakshit who has performed in this song! He is a good singer too! No exaggerations, he stays in one shruthi and plays with high notes and sudden low notes. The whole song is dramatic. We hear flashes of Yakshagaana style. Meanwhile, I am losing my patience and want to finish writing this review. So many details in each song. Cannot miss any of them. Let me continue. One thing is revealed in this song about the movie – that there is one incident and 3 perspectives of it. Some dialogues in between. The background during “minuku hula” almost shines. Towards the end, there is some group violins that take the movie towards a climax.
10. UK Promotional Song-2 – Ajaneesh Loknath himself jumps into the akhaada for singing. The oboe type pipe instrument that was used in old movies is used in this song all over. The notes that sound like “taara-thathathatha” alongwith the peppy beats are enjoyable! I guess this song might be used in the movie for climax. Eedgaayi hodedante, namaazali karedante, kOleradu cross-aadante ulidavaru kandante – waaaaaah! perspectives 😉 super lines! Alli hudku neenu ninna thanavannu – again thale mel hoDedante iro lines. I will have to write another blog-post for the Ulidavaru Kandante song lyrics. One thing I did not like is the usage of that “wahwah” filter for Ajaneesh’s voice upto 10%.
11. Gatiya Ilidu – Sung by Vijay Prakash. The song is about a guy looking at his crush and dreaming all sorts of things. I am in a hurry to finish this review. But, I do not want to do injustice to the songs. So, let me listen to this song 3-4 more times and reivew this properly. I thought of so many things. But, let me tell something about this song in one sentence – Ajaneesh has “that” Hamsalekha has. He proves he has “that talent” with this song. Listen to the line “Samaya saaguva gatiya” – observe the multiple background instruments, the main tune – I can hear the “legacy” of Hamsalekha here. Listen to the song for several times. Observes how many layers make this song one unified piece! I have seen the “flash of Hamsalekha” in Anoop Seelin (his own shishya) and to some extent in Poornachandra Tejaswi. Now, I see this flash in Ajaneesh. Man, this song will be the biggest draw after release. I cannot choose the best song in the album. This song has everything to make even the worst dancer like me get up from chair and dance madly. The accordion, group violins and guitar backing…. Listen to the chorus of ladies. Oflate, KFi had shifted to “western chorus” style. Here, chorus has come back to the native. It was long time back, we had heard such chorus in Hamsalekha songs during 90s. “Manada hindaarili, barade kavalu” – again legendary tune and background piano + accordion. I am realising this should become the best song of this movie. This song sure will be a big draw among the audience. Don’t blame anyone if you feel like lifting up your panche and start dancing naturally like on a sand beach. These beats are so much in our blood, no need for any steps, you will start dancing automatically. Also observe that double clap at 1:22. The group violins are used so well here. There was a time when group violins were used so well. Even Hamsalekha shifted to synthesizers and spoiled so many of his songs. Ajaneesh wins with these group violins. I want to write so much on this song. Not now please. Let me conclude this review with the Hulivesha. I will surely come back to this song with an exclusive post. By the way, there’s one more singer in this song apart from Vijay Prakash who has not been credited. Another singer sounds a bit like Hemanth. “Nag nagtaa nannaaa manasaa ethkondu oytaavLallo… ayyayyyoooo” – is super.
12. Hulivesha -Starts with a bugle and some guitars that give the “portugal” feeling of Goa / coastal side. Before we could anything more comes the tune of “Baa Baaro Baaro Ranadheera”. With chende in the background. Takes us back to 90s era. Tribute to Hamsalekha and Ravichandran. Rakshith questions why the music was stopped and the troop starts with “Santhoshakke”. What a way to pay tributes to Shankar Nag. The tune suddently moves to the charana of “olage seridare gundu”. There are no strict rules in this theme. The lines jump, tempo changes naturally. Observe, they have used even that round instrument which makes “hush hush” sound.
ufffffffffffffffff……… done with the review. What more to write. I am now listening all the songs on earphone. Discovering so many finer sounds and arrangement details. In conclusion, so much work has gone into making of these songs. Rakshith has surely dreamed the songs as he imagined and wrote the screenplay. He surely must have troubled Ajaneesh a lot lot lot. Ajaneesh has taken up the challenge and delivered the goods perfectly. I heard that many industry people have negative talks on this album. Doesn’t matter. This is a landmark album in Kfi in recent times. After listening to the album, I feel that this movie needs to reach wider audience. I am sure even non-Kannadigas will be able to connect with the music.
I am handicap in terms of not knowing the coastal languages. I am also handicapped because, I was unable to connect to the cultural aspect of the music. I noticed several coastal sounds. But was unable to travel beyond that point. I paid Rs. 12 for the songs. I think this album deserves at least Rs. 250. Rakshit and Ajaneesh have simply discarded all types of “formula” music of kfi and have gone with their own instincts.
Like the lines in promo song-2: “ellru haadtaare mansig bandante, nan maath ell keltare ee jannthe, naan bitbittiddeenappa bereyavar chinte. nododu bereyavr aadarenu, alli huDku neenu ninna thanavannu” – Rakshith and Ajaneesh have done this album without worrying about external factors. This becomes the biggest strength of this album. When I see this album amidst all other current albums in India, this album stands out independtly on its own limbs. Very few albums are able to stand this way. Take for example some current albums, Hasee Toh Phasee album stands on the standard bollywood formula music. Highway, though composed by ARR stands on the foundation of ARR’s earlier genre. Ulidavaru Kandante doesn’t belong to any genre. If someone asks what “type” this album is, I sure wont be able to answer them in one sentence. Ulidavaru Kandante belongs to Ulidavaru Kandante genre.
I guess this is my longest audio review ever. I am sure 9 out of 10 wouldn’t read till here. If you read, then thanks! Goodnight now. Let me sleep.
In the end: Still thinking whether it is right for me to say so many good words in the conclusion. That the album belongs to its own genre. Did I exaggerate? Really not sure. As of now, I feel liberated with this music. Recently I got Highway and Dedh Ishqiya and I was supremely disappointed with both Vishal and ARR except 1-2 songs. This album, though doesn’t have big names has satisfied me.
……………………………….
Two Years After the Reivew
……………………………………
I wrote this review on Gandhadagudi dot com. The site is down, hence cross posted here! The review was liked by the director and composer. A year and a half later, the album won Filmfare South Award for Best Music Director – B Ajaneesh Loknath. Many months after the review was written, some people pointed out that the song “knock knock” sounds like a song “bang bang” by some international artist. Also, some pointed that the mother sentimental song reminds of a song from Rang De Basanti. I listened to Bang Bang and say that the basic template is taken from there, but many many modifications have been made here. The mother sentimental song can surely stand on its own feet. The orchestration is similar at some points. The core tune here is different from the Rang De Basanti song. It is very easy to say that a song is a copy, just because it resembles some 5%. A person who has tried to compose a new tune alone will understand the pain. For this reason, I never say “copy” just because there’s some inspiration. Copies are those which will resemble more than 50% and some are 90% copies (like some compositions of Preetham).
Source: https://www.facebook.com/TheRakshitShetty/posts/212852638908256?stream_ref=5
Ulidavaru Kandanthe | |
---|---|
ಉಳಿದವರು ಕಂಡಂತೆ | |
Directed by | Rakshit Shetty |
Produced by | Hemanth Suni Abhi |
Written by | Rakshit Shetty |
Starring | Rakshit Shetty Kishore Tara Sheethal Shetty Rishab Shetty Achyuth Kumar Yagna Shetty |
Music by | B. Ajaneesh Loknath |
Cinematography | Karm Chawla |
Edited by | Sachin |
Production company | |
Release date | |
Running time | 154 minutes |
Country | India |
Language | Kannada |
Budget | ₹2.5 crore (US$350,000)[1] |
Box office | ₹ 3 Crores |
Ulidavaru Kandante (English: As Seen by the Rest) is a 2014 Indian Kannadaneo-noircrimedramaanthology film written and directed by debutant Rakshit Shetty. Shetty appears in the lead role, along with Kishore, Tara, Achyuth Kumar, Rishab Shetty, and Yagna Shetty playing supporting roles.[2] The film involves an anthology of five stories connected to an incident of a person's murder, with the each character narrating it in his own perspective.
The film was geared up to be sent to the Cannes Film Festival,[3] and released on 28 March 2014, to generally positive reviews from film critics who acclaimed the direction, performances of Rakshit Shetty and Sheetal Shetty, and cinematography. The film was the first in Kannada to be shot entirely in sync sound technology.[4] The film has been remade in Tamil starring Nivin Pauly as Richie.[5][6]
Synopsis[edit]
Malpe is a small fishing town on the Arabian Coast, located 6 km to the west of the temple city, Udupi. Malpe's beaches are washed clean everyday by the sea. The waves ensure that nothing gets left behind on the sands. But the waves cannot reach everything.
It is the time of the year when Udupi and its surroundings are decked up to celebrate Sri Krishna Janmashtami. Men and children walk the streets dressed as characters from mythology. Teams painted as tigers are seen dancing to drum beats all around the town. But violence seems to be brewing in Malpe this Krishna Janmashtami. The movie revolves around five different people narrating their view of a murder incidence that took place during Sri Krishna Janmashtami.
Plot[edit]
The story is set in the early 1990s in the coastal town of Malpe, Udupi district in Karnataka. The opening scene depicts fishermen preparing their fishing boats for the next catch. They do so while singing the traditional folk song. A young lad is seen staring out at the open Sea.
A young journalist, Regina (Sheetal Shetty) is working on a story which she tells her editor, cannot be written as a single piece. The story has several perspectives from the various characters involved and hence must be preserved as they are.
In a flashback scene, a young boy Richard Anthony alias Richi is trying to outrun cops who are there to arrest him for a murder. Regina remembers seeing this from the backseat of a car and it is established that both were childhood friends.
Regina starts investigating the story by questioning various characters who were involved.
Chapter 1 : Voice of silence[edit]
The first person she approaches is a local cashew nut merchant, Shailesha who knows both Richi and his childhood friend Raghu (Rishab Shetty). Richi had been in a remand home for 8 years and Raghu had escaped to Bombay(Mumbai) to work in a hotel and later with a local gang. Shailesha accidentally comes across Raghu during one of his Bombay trips. The two meet up in harbour where Shailesha tells Raghu that his father is no more and his mother is making a living by selling fish at the local market. Raghu tells him he cannot leave Bombay as he knows many 'secrets' of his employer. He plans to relocate to Dubai with his mother, once he has sorted out the necessary funds. To do this, Raghu steals a red bag which was important for a 'deal' between the Bombay party and an interested party in USA. He fights his ways through the gang's henchmen and escapes to Malpe where Shailesha provides him a safehouse.
Raghu realises that his location is compromised as two armed gangsters approach his house and start knocking at the front door. As Raghu steeled himself for the impending gunfight, the knocking stops and the men leave.
Chapter 2 : Richard Antony aka Richi[edit]
The second narrative comes from a close ally of Richi, Dinesha (Pramod Shetty) who is held in lock-up. Richi (now portrayed by Rakshit Shetty) is a brash and flamboyant young man who carries out dirty work for a local gangster-cum-businessman, Shankar Poojary (Dinesh Mangalore). Poojary has links with Bombay underworld and runs several fishing boats in Malpe. Richi has earned a bad reputation for himself and is a disgrace to his father, a priest in the local Church.
Poojary summons Richi and Dinesha at his estate and tasks him to find Balu (Achyuth Kumar), one of his employees to 'teach him a lesson'. Poojary asks Richi not to overdo it by 'losing control'. The annual Janmashtami festival in Udupi is at full swing as Richi and gang arrive at Jod raste. Balu has painted himself as a tiger and is participating in Pili-vesha (tiger dance). Richi knocks out Balu and has him sent to the harbour. However he takes a detour when he hears that Raghu is back in town and needs a 'visit'.
It is revealed that Richi and Dinesha were the armed gangsters who were looking for Raghu in the previous story.
Richi forces his way into the house, and goes about explaining made-up story of a Cuban boy (Tony Montana from the film Scarface) and a boy from Mandva (Vijay Chauhan from the movie Agneepath), and how a person at the receiving end of a beating often doesn't realise why he is being served this. This story doubles as a threat to Raghu and also as a metaphor for the viewers who are kept in dark as the violent story unfolds. Richi finds the red bag which Raghu had stolen from Bombay gang and asks the latter to join him for a boat ride. Raghu reluctantly agrees saying that he has to join his mother for dinner later in the day.
Ableton live 9 suite 9.1 for mac. Once on the fishing boat, Richi is torturing Balu and forcing a confession out of him. Eventually Richi pull out a gun on Balu who by now is broken man, and fires a shot. It would seem that Balu is no more.
Chapter : 3[edit]
Raghu's mother Ratnakka (Tara) makes a living out of selling fish in Malpe. After the death of her husband her life is of struggle. Raghu visits his mother at his childhood house and tells her that he wishes to move permanently to Dubai along with her. However he has to leave immediately and will return to pick her up once her documents are in order. He agrees to visit her the next day for dinner where she will prepare her signature dish Meen-saru (South Canara style fish curry, the chapter's namesake). The next day, a gleeful Ratnakka is shopping for fish in the local market, where she lets her fellow fisherwomen know that she is leaving for Dubai soon. That evening Ratnakka elaborately prepares the fish curry and waits for her son to arrive. Her joy turns to disappointment as the hours go by and she slowly starts to realise that her son may not return.
Munna(Kishore) has a soft corner for Balu's sister who sells fish. He often roams around the fish market in hopes of getting a glimpse of her. He also tries to woo her with the help of a young lad, aptly known as 'Democracy'. Munna works as a repairman for Shankar Poojary's boats. During the routine inspection of a fishing boat which Richi had used for his earlier 'adventure', Munna discovers an empty shell casing on the deck. Having the knowledge that Balu was previously seen with Richi at harbour, Munna concludes that Balu has been murdered by Richi and gang.
Chapter : 4[edit]
Balu is in a ragged state when Regina approaches him for questioning. Balu has developed a prejudice for crows and starts to pelt stones at them whenever he sees one. During one of his fishing trips he catches a heavy log of wood in the fishing net. Balu decides to keep this to himself and soon discovers that the log actually contains a priceless relic which 'glows like gold'.
Balu tries to make a profit out of this by selling the merchandise to a foreign party through a Bombay based middleman. The middleman is not able to make full payment as the merchandise has been misplaced and a deal cannot be finalised. As the Janmashtami festival approaches Balu has his body painted as a tiger for Pili-vesha and is performing at Jod raste. Richi and gang knock him out and takes him on a fishing boat to force a confession. During the interrogation Richi pulls out a gun and it is revealed that the shot was fired at Raghu. During his childhood, Richi had committed a hot blooded murder trying to protect Raghu, after which the latter escaped to Bombay leaving Richi behind to be arrested. Richi has deep bitterness against Raghu for this 'betrayal' because of which he spent 8 years in a remand home.
On opening the red bag, it is revealed that it contains the merchandise which Balu was trying to sell off and Raghu is the middleman from Bombay who stole the item before the deal could go through. He was planning to sell it in Dubai in order to secure a life for him and his mother.
Chapter : 5[edit]
Richi returns to Malpe where he is celebrating with Poojary and the tigers from Pili-vesha. Munna believes Balu was killed by Richi's gang and is now blinded by hatred for Richi and compassion for Balu's sister. Finding the right opportunity, Munna pulls out Dinesha's gun and shoots down Richi who in his dying moments is unaware of Munna's motive. The irony is clearly seen now that Richi becomes a victim of his own story of the 'Cuban boy and boy from Mandwa'. Dinesha returns the favour by shooting Munna in the back, who in his dying moments finds peace in the fact that he has avenged for Balu's sister.
It is now clear that Regina was investigating the triple murders (Richi/Munna/Raghu). She concludes that the story has many facets and cannot be clubbed into a single narrative and hence decides to name the story 'as seen by others'.
Cast[edit]
- Rakshit Shetty as Richard Anthony aka 'Richi'
- Kishore as Munna
- Tara as Ratnakka
- Achyuth Kumar (credited as Achyuth Rao) as Balu
- Rishab Shetty as Raghu
- Sheetal Shetty as Regina
- Yagna Shetty as Sharada
- Dinesh Mangalore as Shankar Poojary
- B. Suresh as Father (Richi's father)
- Pramod Shetty as Dinesha
- Gowrish Akki
- Raghu Pandeshwar
- Arun Prakash Shetty
- Master Sohan as Democracy
- Master Akshay
- Master Lohith
- Baby Kavya
Production[edit]
In an interview during the production of Ulidavaru Kandante, Rakshit Shetty said, 'For UK, I want to create an experience that would last for generations to come. I will be more than happy if my movie keeps running in people’s hearts.' [7]
Development[edit]
Wing and son piano serial number. The production of Ulidavaru Kandante was started on 1 August 2013.[8]
Marketing[edit]
Ulidavaru Kandante Mp3 Songs Free 320 Kbps Mp3 Download
The trailer of the movie was published on YouTube on 6 December 2013.[9] It garnered 44,618 views within 48 hours of its launch, breaking the previous record for a Kannada film trailer set by Simple Agi Ondh Love Story. The trailer was also released in theatres by Kannada actor Puneeth Rajkumar, at the Triveni theatre, Bangalore the next day.[10][11]Loose Maada Yogesh said he is ready to postpone his next movie for Ulidavaru Kandante.[12]
The film maintains a presence on Facebook[13] and Twitter,[14] where they solicit memes and invite users to take turns at guessing the nature of film's MacGuffin. Director Rakshit Shetty, busied himself after the release of the trailer, in the design of customisable T-shirts to promote the movie, and also as a vehicle to bring out more popular dialogues to build public anticipation and the fan-base prior to release. This was motivated by the favourable response to scenes depicted in the trailer, as well as some of the lines delivered by the characters.
The team also plan to release video screensavers, and curate blog posts of the audience's reactions after release. Shetty explains that this social engagement - inviting viewer and fan perspectives on the subject - is a natural extension of the thematic subject of the film itself.[15]
Sify.com reports Ulidavaru Kandante as a 'wave of freshness'.[16]
Soundtrack[edit]
Theme[edit]
In an interactive session, Rakshit Shetty said he developed the story of the film with reference to Pancha Bhoota. He also stated that he not only wanted to narrate the story of the characters but also wanted to portray life also Udupi in the 90s. Even though the commercial elements of a successful cinema are there in the film, it was truthful to Karnataka culture. Rakshit Shetty also stated that he was inspired by Quentin Tarantino'sPulp Fiction for making the film. But he did not westernise the script. Being truthful to Karnataka culture is the speciality of this film.
The movie employs Akira Kurosawa's Rashomon Effect in the narration and story telling pattern.[17][18]
Trivia[edit]
The movie overall is an ode to the way of life in Dakshina Kannada district of Karnataka. Certain creative choices of the movie bring these aspects out:
- Ratnakka wants to prepare Meen-saru for Raghu, a dish predominantly from Dakshina Kannada/Malabar coast and uses traditional Clay pot during preparation.
- The grandfather clock which Ratnakka has in her house is of Nayak's brand which was a popular brand at the time.
- The movie is generously sprinkled with dialogues(including cuss words) in Tulu language.
- Movie has scenes depicting Yakshagana and Pili-vesha, which are native to Dakshina Kannada.
- Richi refers to the local deity Jumadi in one of his dialogues.
Release and reception[edit]
The film was given the 'U/A' (Parental Guidance) certificate by the Regional Censor Board. The scene that was censored was that of a cockfight sequence and the use of abusive words muted. Apart from this, the number of smoking scenes were asked to be cut down.[19] Following this, the film was released on 28 March 2014, in over 100 theatres across Karnataka, simultaneously releasing in theatres in the United States, and New Zealand.[20]
Screenings[edit]
Ulidavaru Kandante Mp3 Songs Free 320 Kbps Mp3 From Youtube
![Kandante Kandante](https://kannadamaza.in/siteuploads/thumb/c/248_5.jpg)
The film was screened in June 2014 at the London Indian Film Festival (LIFF) where it received positive response from the audience, and it was called one of the best Indian films to have been made at the time. LIFF rated the film calling it a 'dazzling epic'.[21][22] The film was screened in Leverkusen, Germany on 18 May 2014.[23] It was announced in August 2014 that the film would be screened at the Fantastic Fest in Austin, Texas in September 2014.[24]
Critical reception[edit]
Upon release, the film received positive to mixed reviews from critics. Shyam Prasad S. of the Bangalore Mirror reviewed the film and drew comparisons to Akira Kurosawa's Rashomon (1950),[25] which has a similar plot. He added, 'The film strives hard to become a 'cult' film, but it falls short somewhere during its journey.' He, however, praised the role of direction and acting departments in the film, and appreciated the director for brilliantly capturing the culture of Mangalore and the surrounding areas.[26] B. S. Srivani of Deccan Herald rated the film 3/5 and praised the cinematography, music and writes about the 'fine effort by a debutant [director].'[27]
Box office[edit]
Ulidavaru Kandante opened to a good collection of around ₹3 crore (US$420,000) in its first week from release. Collections dropped in the second week and it was declared as hit at the box office.
Awards[edit]
Award | Category | Recipient | Result | Reference |
---|---|---|---|---|
Won | [28] | |||
Won | [29][30] | |||
('Gatiya Ilidu') | ||||
Nominated | ||||
Nominated | [31] | |||
('Gatiya Ilidu') | ||||
See also[edit]
References[edit]
- ^'Has Ulidavaru Kandathe overshot the estimated budget?'. The Times of India. 23 April 2014. Retrieved 25 April 2014.
- ^'Ulidavaru Kandante'.
- ^Sundaram, Praveen (7 March 2014). 'Kannada film Ulidavaru Kandanthe at Cannes Film Festival'. rediff.com. Retrieved 1 November 2014.
- ^''There are lots of hidden meanings and metaphors in the film''. rediff.com. 17 December 2013. Retrieved 1 November 2014.
- ^http://english.manoramaonline.com/entertainment/entertainment-news/premam-star-nivin-pauly-to-star-in-remakes-of-kannada-hit-ulidavaru-kandante.html
- ^http://www.ibtimes.co.in/premam-star-nivin-pauly-lead-tamil-malayalam-remakes-rakshit-shetty-starrer-ulidavaru-637490
- ^[1],Simple Aag Ond Karnataka Rajyotsava with Rakshit Shetty
- ^[2], Rakshit Shetty Direction starts on August 2013
- ^UK Movie Trailer on YouTube
- ^[3], Puneeth launches trailer of UK
- ^[4], Ulidavaru Kandante's Trailer Gets Rave Reviews
- ^[5], Yogi ready to postpone his film
- ^Facebook - Ulidavaru Kandanthe
- ^Twitter - Ulidavaru Kandanthe
- ^'Ulidavaru Kandante boasts of custom made T-shirts'. The Times of India. 12 December 2013. Retrieved 15 December 2013.
- ^[6], UK wave of freshness
- ^https://www.thehindu.com/entertainment/movies/kannada-cinema-in-the-last-decade-an-explosion-of-new-voices-new-avenues/article30383549.ece
- ^https://www.thehindu.com/entertainment/movies/kannada-cinema-in-the-last-decade-the-highs-and-lows/article30432090.ece
- ^'U/A Certificate for Ulidavaru Kandante'. The New Indian Express. Retrieved 1 November 2014.
- ^''UK' in Abroad'. indiaglitz.com. 26 March 2014. Retrieved 1 November 2014.
- ^'London Indian Film Festival: Ulidavaru Kandante'. Institute of Contemporary Arts. 13 July 2014. Retrieved 4 September 2014.
- ^'Ulidavaru Kandante wins hearts of London cinephiles'. The Times of India. 16 June 2014. Retrieved 4 September 2014.
- ^'Ulidavaru Kandante gets Germany release'. The Times of India. 6 May 2014. Retrieved 5 September 2014.
- ^'Ulidavaru Kandanthe to be screened at film fest in Texas, USA'. The Times of India. 30 August 2014. Retrieved 4 September 2014.
- ^https://bangaloremirror.indiatimes.com/entertainment/reviews/Kishore-Rakshit-Shetty-Tara-Achyuth-Kumar-Rishab/articleshow/32862836.cms?
- ^'Ulidavaru Kandante review'. The Times of India. 29 March 2014.
- ^'Crumbling motives of a perfect crime'. Deccan Herald. 28 March 2014. Retrieved 1 November 2014.
- ^'Here's how these award winners received the big news'. The Times of India. 14 February 2016. Retrieved 10 April 2016.
- ^'Nominations for the 62nd Britannia Filmfare Awards (South)'. 3 June 2015. Retrieved 27 June 2015.
- ^'Winners of 62nd Britannia Filmfare Awards South'. Filmfare. filmfare.com. 27 June 2015. Retrieved 27 June 2015.
- ^'Kannada award winners at SIIMA'. The Times of India. 11 August 2015. Retrieved 13 August 2015.
External links[edit]
- Ulidavaru Kandante on IMDb
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