The Aparichit Part 1 Hindi Dubbed 720p
Sharif Garmon
Vikram and Prakash Raj are the best things about this movie. Both the men steal the show with their wonderful performances. Priyanka also delivers a good performance. Other actors do their respective parts well. The music is good, despite of the fact that the dubbing spoils the fun of the songs at a few places. The film's comedy part is entertaining. Vivek plays his comic part very well. The film's only action scene is another major strength of the film. The film might be a bit like classic Bollywood films, yet it has a good entertainment value. Director Durai has managed to successfully craft a good family sentiment throughout this film.
The heroine role of a "devoted Iyengar Brahmin girl" was originally offered to Aishwarya Rai Bachchan, who was too busy to accommodate production dates. After months of waiting for her call sheet, Shankar eventually offered the role to Sadha.[22] Expressing hope that it would be "an important movie" in her career, Sadha accepted the offer, working on the film for 120 days, adding, "I have a major role to play in Anniyan. There are few heavy portions involving me in the movie that I have given my best." She considered being a part of a Shankar film, especially during the early stages of her career, as a "god's gift" and a "once-in-a-lifetime experience".[23][24][25] However, when offered similar roles following the film's success, she refused to be typecast and stated, "I am now looking for roles where my creative potential is tapped. I don't want to be part of such cinema where all one has to do is dance around trees."[26]
Vikram grew a tummy to portray Ramanujam while he sported a "macho look" for Anniyan.[10] He also grew his hair long in preparation for his role and rejected other film offers to maintain the continuity in his looks.[50][55] Together with his character looks and those that he sported in the song sequences, Vikram appears in the film in 18 different getups.[56] Vikram's look in the film was created by make-up artiste Banu.[57] For those parts that show him as metrosexual Remo, he coloured his hair in streaks of copper and blonde.[58] Unwilling to reveal his 'new look' until the film was ready, Vikram avoided the media despite winning the aforementioned National Award for the year 2003.[59] Meanwhile, Sadha's make-up and hair styling were done by Mumbai-based celebrity stylist Ojas M. Rajani.[60]
The film stars a scene at the Thiruvaiyaru Thyagaraja Utsavam. The Utsavam is a week-long music festival which commemorates the 18th-century saint-composer Tyagaraja, revered as one of the greatest composers of carnatic music, and is held annually at his resting place in Thiruvaiyaru, Thanjavur.[66][67] With the use of sets, the art department recreated the Tyagaraja Aradhana near Mahabalipuram in Tamil Nadu.[68] For filming the scene, the crew recreated a performance of the famous kriti "Jagadānanda kārakā", the first of the five Pancharatna Kriti compositions of Tyagaraja, as performed during Tyagaraja Aradhana.[69][70] The aradhana, held on the fifth day of the festival, witnesses exponents of carnatic music from across the world converging at his samaadhi, where they sing his pancharatna kritis in unison as an homage to the saint.[71]
Shankar approached violin maestro Kunnakudi Vaidyanathan, a regular participant at the actual event, to conceive and orchestrate the sequence. Vaidyanathan was serving as the secretary of Sri Thyagabrahma Mahotsava Sabha, the committee which organises the aradhana.[72] The scene features him in a cameo and was shot in June 2004 at a studio in Chennai.[73][74] Realistic sets were erected to resemble the actual venue and leading carnatic vocalists Sudha Ragunathan, Sirkazhi G. Sivachidambaram, O. S. Arun, P. Unni Krishnan and instrumentalists such as violinist A. Kanyakumari, mridangam exponent Umayalpuram K. Sivaraman were recruited to add a touch of authenticity.[75] The two-minute scene was brought to life in "painstaking detail". The sequence was much talked about and well appreciated.[76]
The song features the lead pair singing amidst a flower farm as mridangam and flute players accompany them in the background.[f][17] It was choreographed by Raju Sundaram who also appears in a cameo, playing a harmonium. As part of their roles, the male supporting actors who appear in the song were required to wear a panjakkacham and angavastram, leaving most of their body exposed to the freezing cold. The shoot began as early as 5:30 AM and the locals, who thought they should be out of their mind to be dressed so, came up to them and warned that they might freeze to death.[94]
I have travelled to many parts of the globe, especially the developed countries, and I am fascinated by the rapid strides that they have made in all fields. But back home, I am upset to see the neglect, poverty and the laid back approach of our youngsters. I often think that we are a lazy country. [...] My story is about a person who tries to bring (about) a change within our society. The issue that I am trying to solve is inherent weakness within our society and some motivation to move forward like other nations.
The methods of punishment meted out to the sinners by Anniyan in the film is based on Garuda Purana, a Vaishnavite purana which speaks of life after death and punishments for wrongdoers. Shankar pointed out that he "worked tirelessly day and night and intense research was done with the help of a professor in department of Vaishnavism in Madras University."[114]
Labelling the film as a "must see", a reviewer at Sify acclaimed that the film holds the viewers riveted with its racy narration, a relevant message backed with technical wizardry, never-seen before colourful song picturisation and particularly the performance of Vikram. Yet, the reviewer criticised that the film was too lengthy and the story too thin on logic.[44]
In an August 2005 seminar titled "Revisiting psychiatric disorders in Tamil films", where the discussion revolved around the films Chandramukhi and Anniyan, psychiatrist Asokan found many logical faults in both films. While acknowledging that Anniyan was a technically better film, he stated that it did not explain some of the medical theories.[170] In another August 2005 seminar conducted to mark the anniversary of the Quit India Movement, where participants were urged to actively fight corruption, the convener T. Hema Kumari referred to the films Bhaarateeyudu (the Telugu dubbed version of Indian) and Aparichitudu. She noted that while such films which depict a fight against corruption were appreciated, people were reluctant to join movements against such issues.[171]
In 1920, Apu and his parents, who have left their home in rural Bengal, have settled into an apartment in Varanasi where his father Harihar works as a priest. Harihar is making headway in his new pursuits: praying, singing, and officiating among the ghats on the sacred river Ganges. Harihar catches a fever and soon dies, however, and his wife Sarbajaya is forced to begin work as a maid. With the assistance of a great-uncle, Apu and his mother return to Bengal and settle in the village Mansapota. There Apu apprentices as a priest, but pines to attend the local school which his mother is persuaded to allow. He excels at his studies, impressing a visiting dignitary, and the headmaster takes special interest in him.
Aparajito was filmed forty years ago, half way around the world, yet the themes and emotions embedded in the narrative are strikingly relevant to modern Western society (thus explaining why it is called a "timeless classic"). ... Aparajito is an amazing motion picture. Its rich, poetic composition is perfectly wed to the sublime emotional resonance of the narrative. For those who have seen Pather Panchali, Aparajito provides a nearly-flawless continuation of the journey begun there. Yet, for those who missed Ray's earlier effort, this film loses none of its impact. On its own or as part of the Apu Trilogy, Aparajito should not be missed.[18]
The Academy Film Archive preserved the entire Apu Trilogy in 1996, including Aparajito.[47] In 2013, the video distribution company The Criterion Collection, in collaboration with the Academy of Motion Picture Arts and Sciences' Film Archive, began the restoration of the original negatives of the Apu trilogy, including Aparajito. These negatives had been severely damaged by a fire in London in 1993, and all film cans and fragments belonging to the Ray films were sent to the Motion Picture Academy for storage, where they lay unseen for two decades.[48] It was discovered upon reexamination that, although many parts of the films were indeed destroyed by fire or the effects of age, other parts were salvageable. The materials were shipped to a restoration laboratory in Bologna, Italy: L'Immagine Ritrovata. For those parts of the negative that were missing or unusable, duplicate negatives and fine-grain masters from various commercial or archival sources were used.[48] The Criterion Collection's own lab then spent six months creating the digital version of all three films, at times choosing to preserve the distinctive look of the films even at the cost of retaining some imperfections.[48]
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