Le prime del 30 ottobre 2015: Main Aur Charles

Questo sì che è uno di quei ruoli per cui qualunque attore farebbe carte false. Avete letto la biografia in Wikipedia del serial killer di origini indiane Charles Sobhraj? Un noir da brivido, con tutte le carte in regola per suscitare l'interesse di romanzieri e sceneggiatori: alta società, glamour, località esotiche, donne avvenenti, gioielli preziosi, truffe, rocambolesche evasioni e brutali omicidi. E quale attore indiano potrebbe interpretare in un film un personaggio così fascinoso, carismatico e demoniaco? Facile: il conturbante Randeep Hooda. Ci ha pensato anche Prawaal Raman, il regista dell'acclamato thriller 404 del 2011. Il suo Main Aur Charles potrebbe essere la pellicola rivelazione dell'anno, considerando anche che il main (io in hindi - aur significa e) del titolo è l'ottimo Adil Hussain, nel ruolo di Amod Kanth, l'investigatore che si occupò del caso (nonché delle indagini sull'assassinio di Rajiv Gandhi e di Jessica Lal - ricordate il film No one killed Jessica?). Un'accoppiata davvero stellare. Trailer. La colonna sonora non è niente male. Ne sono prova i brani Neeli Bullet, Jab Chaye Mera Jadoo (quest'ultimo è una moderna versione di Jab Chaye Mera Jadoo, di Rajesh Roshan - zio di Hrithik Roshan -, tratto da Lootmaar, pellicola del 1980 diretta e interpretata da Dev Anand), Ya Rabba e Woh Tho Yahin Hai Lekin. Ne approfitto per offrirvi di seguito una serie di video, interviste, locandine e fotografie.

- Video: chat organizzata dal fascinoso Randeep Hooda nel suo profilo Facebook il 23 settembre 2015 (al minuto 10.50 l'attore parla di Roma - grazie a Monica per il link). Sopravvissute? A fatica, lo so.

- Video Bollywood Hungama: intervista congiunta concessa da Randeep e da Richa Chadha, 20 ottobre 2015

- Video: trasformazione di Hooda in Charles, 27 ottobre 2015

- Video India Today: partecipazione di Randeep al Mind Rocks Youth Summit 2015, 31 ottobre 2015

- Reel Charles Sobhraj - Randeep Hooda meets the real Charles in Kathmandu jail, Priya Gupta, The Times of India, 27 ottobre 2015. L'articolo contiene le controverse dichiarazioni rilasciate dall'attore all'indomani del suo incontro, in una prigione nepalese, con il vero Charles (Hooda, comunque, aveva incontrato anche il vero Kanth):

'Talk about the details of your meeting?

I had gone dressed looking myself and not dressed as Charles, so when he saw me he could not recognise till I told him, 'I am the guy who plays Charles.' He looked at me with a long silence and then gave me a thumbs up. I had heard from our sources that he had seen the trailer of our film on his TV there and had liked it. We wanted to present him the poster of the movie. But he had not only already seen the poster, but had already put it up on the wall of the jail. (...) He told us how seeing the trailer, he felt that the film was a great quality product and seeing it, he felt nostalgic about his young life. He told us how it needed guts for producers to make a film like this and he applauded Prawaal Raman for capturing it right. He was specially very high on the fact that I could portray him so correctly. He asked me, 'Where did you get my speech and mannerisms?' I said, 'Out of your available footage.' He said, 'Spot on.' (...) He requested for a screening of the movie after it releases not only for himself, but also for all his 3,000 inmates. He asked me whether it would be possible. I said, 'Yes. We will need to take permission but we will try our best.' (...)

How do you feel having met him?

I am so happy meeting him. It was such a surreal experience for me. He was everything larger than life that I had expected him to be. He was surrounded by security and a lot of his young boys that he pampers and he was all like enthusiastic about meeting us. I thought he was so full of life, almost virile. He is still such a handsome man. Even at the age of 72, he has his aura fully intact.

Has he sent any message?

He sent his salaam to Amod Kanth. He complimented us for choosing to portray this part of his life, which he said was very interesting. He also said that once he was out of jail, he would like to meet Prawaal and me to share more interesting stories about his life, which could mean more sequels to his story'.

- Adil Hussain: Charles Sobhraj like Hitler believed that what he did was correct, Priya Gupta, Bombay Times, 30 ottobre 2015:

'Talk about your journey of becoming an actor?

I come from a town of Assam called Goalpara. (...) I started acting (both in English and Assamese) from when I was seven and would participate in my school plays every year. It was when I was in Class VIII that I decided that I wanted to be an actor. (...) The most important part of acting for me was how I enjoyed acting. My father was a headmaster of a high secondary school and could not afford to pay for my learning to act. But then, I came to know about NSD [National School of Drama], possibly the only institution in the world that pays you to learn. (...) I was already doing regional television and films at the age of 17, post which I joined NSD. Post NSD, I got a scholarship to learn acting in England, post which I returned to India to train again for nine years before I did my first play In Othello. (...) The play was made into a film that was just released in Europe for the festivals. I then got my first big Hindi break in (...) Ishqiya. (...)

I think 1998 was both my lowest or you could say, my highest period. I met and fell in love with this woman in Amsterdam while I was studying there, who was half Dutch and half Indian. I was planning to move to India to train in acting with my teacher in a place that did not have electricity or running water. I knew it would be difficult for her to stay with me in such conditions but she insisted and we moved to India. She brought out the worst in me and while till then I had been this nice, friendly and helpful guy who never shouted at anybody ever, I got introduced and exposed to my other side, the mad, angry side. And while I am grateful to her for showing me that side of me that nobody likes of themselves, I went through an emotional turmoil to the point of almost losing my mind. (...)

Your wife Kristen too is half Indian. What makes you fall in love with half Indians?

Yes, my wife Kristen is half Jain and half American. I realised much later that I am a mixed Indian myself as my maternal grandfather was from Iraq and maternal grandmother, a mix of Assamese, English and Italian so may be somewhere that explains my attraction to women who were half Indians. (...)

Do you have friends in the film industry? (...)

Randeep Hooda is a friend who would stand by me. He is very honest and upfront and says what he feels within. He is not like me and would not care what people would think about it. That's an important quality as an actor, as a good actor is about being clean. He's a very good and sensitive actor. (...)

What made you play the role of Amod Kanth in Main Aur Charles? (...)

I have met Amod Kanth in real life and I love the conviction he has to do whatever he does. He is the most honest man I have ever met. (...) I love Amod Kanth's integrity, his conviction, his responsibility to society that is so inspiring and rare these days'.

#WorthDyingFor #MainAurCharles 

Vedi anche River to River Florence Indian Film Festival 2015, 9 novembre 2015.

Charles Sobhraj

Randeep e Salman Khan nel programma Bigg Boss

Evento promozionale a Kolkata

Evento promozionale a Delhi

Randeep e Prawaal Raman

Evento promozionale a Kolkata

Evento promozionale a Jaipur

Randeep e Richa: intervista Bollywood Hungama

Randeep, Adil e Prawaal Raman

Presentazione trailer

Le prime del 30 ottobre 2015: Titli

Nel 2014 Titli era stato proiettato in prima mondiale in concorso a Cannes nella sezione Un certain regard (clicca qui). La pellicola è diretta da Kanu Behl, che ha collaborato anche alla sceneggiatura, e prodotta da Dibakar Banerjee, per conto di Yash Raj Films, e da Guneet Monga. È alquanto significativo che Aditya Chopra, proprietario di YRF, abbia finanziato un progetto la cui storia verte intorno ad una famiglia decisamente poco bollywoodiana. I personaggi, in Titli, sono descritti come disgustosi, brutali, violenti. Quanto al cast, Ranvir Shorey è affiancato da Lalit Behl, attore teatrale e padre del regista. Kanu Behl è una vecchia conoscenza di Dibakar Banerjee: i due, insieme, avevano redatto la sceneggiatura del clamoroso Love Sex Aur Dhokha. Trailer. Approfitto per segnalarvi l'articolo Kanu Behl’s indie film, Titli, may change the game for Indian cinema, di Aparna Pednekar, pubblicato il 31 ottobre 2015 da Brunch: 

'It’s actually dark, brutal and psychologically violent. Its principal characters are a dysfunctional family of carjackers in a gritty city that Patiala-born Behl knows like the back of his hand. They’re each more repulsive than the other, with the youngest, called Titli, trying desperately to escape the family business, and thus, the family. Powerlessness manifests as several kinds of cruelty in Titli. The film’s language alone caused alarms to go off with India’s censor board, which asked Behl to tone down the abuses before its India release. (...) Behl (...) wants to drag the squalid desi family and its skeletons out of the closet with viciousness.

All in the family

The son of writer-actor-director parents, Behl says he practically grew up backstage at theatre productions. (...) Behl, who faced the camera at age 12, remembers them shooting for 72 hours at a stretch. (...) Behl’s strained relationship with his father and memories of domestic discord not only found their way into Titli’s screenplay but into the casting too. (...) “I looked at a lot of senior actors for the part of Daddy, but couldn’t find anyone to nail the character’s energies,” he says. “It’s a very silent, inexpressive role with a latent intensity.” Behl eventually cast his own father Lalit (a National School of Drama alumnus) as the seemingly powerless father figure. Lalit Behl was the only one from the largely unknown cast to find himself working without a script until the last day of the shoot. The strategy was part of Behl’s (...) arsenal of unusual methods to push their actors. 

Ranvir Shorey, who turns in a hard-hitting performance as Titli’s hot-tempered elder brother, Vikram, attests to the unorthodox preparation. For a workshop, he was left in a room with Senior Behl where they were asked to share personal information that they’d never revealed to anyone else. “We wept like babies, sparking off a lifetime bond,” Shorey recalls. The unrelenting violence of the material, however, hit a raw nerve with Shorey. “I’ve had my brush with corporal punishment as the youngest of two brothers with a heavy-handed father,” he explains. “But in this film, I play the perpetrator of violence. The material became too close; a little out of control.”

The big fat Indian indie

It’s easy to think of Behl’s film as one of those “other India” films: festival-friendly stories about hope rising out of third-world squalor. But Behl says that Titli isn’t a “look down at an issue from a Western gaze” or a film that exoticises India. He and co-writer Sharat Katariya began writing the film during 2013’s Nirbhaya rape case as they tried to “achieve a larger understanding of the violence in our world”, an attempt (like so many of us made) to look at patriarchy and oppression in the context of violence. “It was always a very ‘us’ look at our lives,” Behl says. But he is heartened that even non-cinema people have embraced the film and its universal theme of family dysfunction. (...)

Titli, however, has more than just a brutally honest Indian idiom working for it. It’s co-produced by an odd pair - Dibakar Banerjee and Aditya Chopra. (...) The duo gave it a heft and marketing push that many indie films don’t get, with or without success abroad. Banerjee considers the partnership a massive advantage, but he’s also terribly realistic about independent cinema in India. “Independent films take long to gestate here,” he says. “With 800 films releasing in 52 weeks, it’s a struggle to hold on to the theatres and YRF helps us do that. In the next five years, we are going nowhere if the quantity of screens doesn’t increase and distribution channels don’t change. For now, for our audiences, a film like Titli is not a bad second option, after a Salman Khan film,” he adds wryly.

Protégé rising 

Banerjee rounds out Titli’s crew (which includes Aditya Chopra, Katariya and Behl’s ex-wife and the film’s editor, Namrata Rao). His intellectual, detached mentor-protégé relationship with Behl, who assisted him on Oye Lucky! Lucky Oye! (2008) and co-wrote Love Sex Aur Dhokha (2010), works well for both men. “Kanu has unplumbed depths which he does not reveal,” says the ace filmmaker. (...) “Our relationship is focused on the job at hand. The only impassioned discussions, bitching and fighting sessions we’ve had have been on films. We’ll finish work on a film, won’t talk at all, then call after a year and pick up [on work] without missing a beat,” Banerjee adds.

Having lost out on the opportunity to direct Titli (it was his first reaction when he heard the script), Banerjee makes sure he has the last word on the film’s desi appeal at least. “The average Indian, I believe, is quite mental,” he says. “We’re a country in the throes of a nervous breakdown, living on the edge of reality, which is why we need the outlet of escapist cinema. But that also makes us schizophrenic. In this scenario, a film like Titli provides some kind of a connect with reality”.'

Amitav Ghosh in Italia

Amitav Ghosh sarà a Torino sabato 24 ottobre 2015, alle ore 17.00, presso la biblioteca Andrea Della Corte, ospite dell'evento Salone Off 365. Il celebre scrittore indiano presenterà il suo ultimo romanzo, Diluvio di fuoco, pubblicato da Neri Pozza Editore. 

Aggiornamento del 24 ottobre 2015: fine settimana tutto italiano per Amitav Ghosh. Dopo Torino, domani alle ore 17.30 lo scrittore approda a Milano, al Teatro Franco Parenti, ospite dell'evento BookCity Milano.

Milano, Teatro Franco Parenti, 25 ottobre 2015

Bajirao Mastani: locandine, trailer e video

Sanjay Leela Bhansali tornerà ad incantarci il 18 dicembre 2015 con la distribuzione di Bajirao Mastani, sontuoso film in costume interpretato da Deepika Padukone e Ranveer Singh. La pellicola si ispira alla vita di Bajirao I, monarca, generale e primo ministro di religione hindu del quarto imperatore dell'impero maratha (siamo nel diciottesimo secolo). La danzatrice Mastani, di religione musulmana, è la sua seconda moglie. Nel film, il ruolo di Kashibai, la prima moglie del protagonista, è toccato a Priyanka Chopra. Bhansali firma anche la colonna sonora. Un assaggio nel magnifico brano Deewani Mastani, visualizzato in modo splendido, e in Pinga. Il trailer è accattivante quanto un cortometraggio. Una curiosità: in passato sono state prodotte ben due serie televisive in lingua marathi imperniate sulle figure di Bajirao I e di Mastani. 

Killing Veerappan: locandina e trailer

Killing Veerappan segna il debutto del regista Ram Gopal Varma nella cinematografia in lingua kannada - la pellicola è stata comunque girata in simultanea anche in telugu e in tamil. Killing Veerappan, interpretato da Shiva Rajkumar e Sandeep Bharadwaj, si basa su una serie di eventi realmente accaduti nel 2004, collegati alla cattura e alla morte di Veerappan, efferato bandito attivo dal 1962 al 2002 in Kerala, Tamil Nadu e Karnataka. Secondo Wikipedia, Veerappan assassinò 184 persone, di cui 97 fra poliziotti e guardie forestali. Considerato una sorta di Robin Hood dagli abitanti dei villaggi rurali nell'area di confine fra Karnataka e Tamil Nadu, nel 2000 Veerappan sequestrò Dr. Rajkumar, amatissimo attore kannada, e sembra che la supersuperstar Rajinikanth partecipò ai negoziati per il suo rilascio (avvenuto dopo 108 giorni). La vicenda è ancora oggi avvolta dal mistero: le modalità del rapimento e del rilascio non sono mai state rese note. Primo e secondo trailer (in telugu). Una curiosità: la figura di Veerappan in passato ha ispirato diversi film e serie televisive indiane, in varie lingue, fra cui Jungle (2000) sempre diretto da Varma. Anche il personaggio interpretato da Vikram in Raavanan di Mani Ratnam può essere ricondotto a Veerappan.

Aishwarya Rai: Traveller India ottobre-novembre 2015

Una copertina impreziosita da Aishwarya Rai è un'altra cosa. Il numero di ottobre-novembre 2015 dell'edizione indiana di Traveller festeggia il quinto anno di pubblicazione con uno speciale dedicato proprio all'India. Aishwarya è ritratta in una serie di splendide immagini che riportano alla memoria il fascino di epoche passate. Ammirate la diva nel video della sessione fotografica. La sua avvenenza non ha pari al mondo.

Irrfan Khan International

Anno magnifico, il 2015, per Irrfan Khan. Piku ha conseguito un enorme successo di pubblico e critica. Talvar, dopo aver incantato gli spettatori festivalieri di mezzo mondo, al botteghino indiano si sta comportando dignitosamente. Jazbaa, nel bene e nel male, è uno dei film più chiacchierati, osannati e discussi della stagione corrente. Irrfan è sempre Irrfan: solido, elegante, talentuoso, ironico, affascinante. Vi segnalo Irrfan Khan International, intervista concessa dalla star a Divya Unny, pubblicata da Open il 7 ottobre 2015:

'Dressed in a simple black tee and jeans, his energy unfazed by everything that’s buzzing around him. “It’s better to be the spectator than just the subject, isn’t it?” he asks. (...) Even as an interviewee he knows how to hold your attention. His eyes (...) tell you what his words don’t. He flashes a faint smile every time he reads between your questions. He barely uses his hands, much like the way he plays most of his parts. (...) With Piku, Jurassic World and now Talvar, 2015 is his year by every rule of the book. Rules, he loves to challenge with the parts he plays. “I don’t know if I can call it a breakthrough year, but I’m fortunate that all the good films are coming one after the other. The audiences are asking to be engaged mentally, emotionally, intellectually. Hell, they are asking us to engage them with time pass, but the good thing is at least they are thinking,” he says.

It’s been one of Khan’s strongest traits as an actor. He never underestimates his audience. No matter how mindful or mindless a film he’s part of, he always finds a direct connect with those watching him. Be it through a simple throwback of the head, or by adjusting his reading glasses, or pausing a few seconds before responding to a question, he always manages to steal a moment with the viewer - even before he communicates with his co-actor. He lets them in before letting himself out, and with precision as sharp as his gaze. This is perhaps why he finds a story to tell even with characters that may be drawn out in just a few lines on paper. “My character Rana in Piku is just one of the many parts Shoojit [Sircar] had written in this world that was so real. Honestly, there was little about Rana that could be fleshed out in the context of the story because it wasn’t about him. But then, how do you play a part like that with conviction? Just by surrendering yourself to that space. You cannot imagine the things you will discover once you make yourself believe that you are truly part of that world,” he says.

It’s a philosophy that never let him define his range as an actor in the three decades that he has been performing. You still cannot predict what Irrfan’s next role might be. He has never made moulds for himself like the ‘superstars’ of the Hindi film industry. He broke all barriers - of age, language and physical attributes - to get his space. (...) Some of Khan’s most lovable parts have him playing characters at least 20 years older than he is. “When I was playing Sunil Sanyal [dalla serie In Treatment], I was really falling short of life experiences to make it convincing. I was playing a widower who’s highly insecure of his surroundings and relationships. I did not have that kind of complexity. But that’s when your experiences, your desire to create something new is tested. You push and prod yourself to a point where you start discovering things about yourself you never knew,” he says. (...)

The journey was tough, to a point that made him want to give it all up. He still remembers being edited out of his first film Salaam Bombay!, an experience that broke his spirit. “I remember sobbing all night when Mira told me that my part was reduced to merely nothing. But it changed something within me. I was prepared for anything after that,” he says. From the very start, he came across as an actor with the intensity only very senior actors like Pankaj Kapur and Naseeruddin Shah possessed. It wasn’t like he was a troubled child, but there was something that was always brewing within him. “I was not an unhappy kid, but I was always craving my mother’s attention. I would do anything to get her affection and I think at some level, acting helped me channelise a lot of those emotions.” (...)

“I remember there was a scene in Maqbool where I watch my newborn from a little window frame in the hospital door. It was the last time I was going to see my child, and at the end of the scene a tear drop trickles down from the glass frame. Now that was not planned, that’s the kind of moment that just happens.” Though his canvas as an actor only expanded from there on, it was these moments of truth he says he strived to achieve with every role. When Ang Lee cast Irrfan in Life of Pi, he said of him, “I was always familiar with Irrfan’s work, so casting him was almost a no-brainer. He’s someone who surprises you every minute with his interpretation of the story and the character. And I discovered that after I watched The Namesake.”

Over the years, he has even been criticised by many for taking up small parts in massive Hollywood films. (...) But for Khan, it was about putting himself out there on sets that were alien to him. “When I do something like The Lunchbox, it’s highly exhausting and even boring because most of my scenes are with a sheet of paper or a dabba full of food. Then when I go and act in a superhero film in Hollywood, it’s a completely opposite experience. Both films shook me out of my comfort zone, asked me to look for new ways to say things, surprise myself. (...) It makes me happy when people outside India recognise my work, because at some level I am also able to change their idea about our cinema. Our stories are getting more real, our audience is changing and the world should know about it.”

Ask him if it’s extra pressure having to represent the country as an actor in places like film festivals at Cannes and Florence, and he says, “As an actor, the kind of emotion I create in a scene is relatable because I don’t rely on false perceptions. Similarly I don’t put up a face when I go abroad. It’s the one thing I strived for during my learning days. To find my truth. Even today when I stand on the podium with five other stalwarts, who I look up to, I try to remain true to myself and I guess that’s what they appreciate,” he says. He says he doesn’t change his approach when he works with a Ron Howard or a Tom Hanks because he believes he doesn’t need to. “Their world is different, but they hire me for what I bring to them, and if that changes I will cease to be myself.”

Among his biggest challenges as an actor is to keep his opinion and his craft separate. “Talvar was the kind of script that changed many of my opinions that were formed without full knowledge. We are quick to judge and succumb to hyped reality. As an actor I think it is important to be able to not fall prey to that, especially with a script inspired by reality.” That he has now mastered his craft is something everyone agrees on, except he himself. “I have moments of panic even today. There’s nothing known as mastery. You give people something they can take from, something aspirational, something inspiring, and that doesn’t always come methodically. You have to rely on instinct,” he adds.

Years ago his only dream was to present his mother with a bagful of money. Today things have changed. “Today I have changed, my mother has changed and so have my dreams. She will now ask me to keep the bag of money aside and spend some more time with her. Even now she may rebut me for something I would do, and I will still strive to gain her attention. That’s not the actor within, that’s just me.” We ask him if “Irrfan Khan can really do anything”, (...) and all he does is let out a silent smile. “I don’t want to be able to do everything. I want to create something, break it, create and then break some more. Why look at mastering anything? Life is perishable. You will anyway become a story in some time. So why not become a great one?” he asks'.

Shah Rukh Khan: laurea honoris causa

Quest'oggi l'università di Edimburgo ha conferito a Shah Rukh Khan una laurea honoris causa con la seguente motivazione: 'His Edinburgh degree of Doctor Honoris Causa was given in recognition of his success as an actor with a global reach and his outstanding record of philanthropy, altruism and humanitarianism'. L'attore ha tenuto una lezione pubblica, e si è anche esibito in una coreografia. Ieri era stato proiettato Kuch Kuch Hota Hai, film che include alcune sequenze girate in Scozia. Al termine, era seguito un dibattito sull'impatto provocato da SRK sulle platee di tutto il mondo, dibattito a cui hanno partecipato studenti, giornalisti e accademici. Video ufficiale con dichiarazioni rilasciate dalla superstar.

Aggiornamento del 16 ottobre 2015: 

- video ufficiale della lezione pubblica dal titolo Life Lessons

- video ufficiale dell'esibizione coreografica.

Gregory David Roberts: L'ombra della montagna

Finalmente un'ottima notizia: a partire dal 3 dicembre 2015, Neri Pozza Editore distribuirà nelle librerie italiane L'ombra della montagna, di Gregory David Roberts. Il volume è il seguito del celebre romanzo del 2003 Shantaram. Tutte le edizioni nel mondo utilizzeranno la stessa copertina, un simbolo della tradizione hindu legato al culto della dea Kali.

Garam: le riprese in Italia

Un paio di giorni fa la troupe del film in lingua telugu Garam era in Italia per girare alcune sequenze. Garam è diretto da Madan e interpretato da Aadi Saikumar e Adah Sharma. 

Aggiornamento del 6 settembre 2023: video del brano Chilaka Paapa.

Le prime del 16 ottobre 2015: Bruce Lee - The fighter

Tutti pazzi per Bruce Lee. Ram Charan interpreta il ruolo da protagonista in Bruce Lee - The fighter, film in lingua telugu diretto da Sreenu Vaitla. Nel cast anche Rakul Preet Singh. Il video del brano Le Chalo, incluso nella colonna sonora della pellicola, è girato nel nostro Paese. Fra l'altro Ram Charan era stato in Italia - a Firenze e a Roma - nel 2012, in occasione del suo viaggio di nozze. Trailer.

Bruce Lee: locandina

Nel 2014 e nel 2015 non è stata distribuita nessuna pellicola in lingua hindi diretta da Ram Gopal Varma. Non che il vulcanico regista sia rimasto con le mani in mano (figuriamoci): la sua filmografia telugu si è arricchita di un'altra manciata di titoli, giusto per non perdere il ritmo. La scorsa settimana RGV ha annunciato a sorpresa il suo nuovo lavoro in hindi, Bruce Lee, presentandone la locandina. 

Aggiornamento del 15 maggio 2023: con questo titolo, non è mai stata distribuita nessuna pellicola di Varma. Però, nel 2022, in India e in Cina è stato distribuito Ladki - Enter the girl dragon, film telugu di RGV imperniato sulle arti marziali. La protagonista, Pooja Bhalekar, sembra la stessa.  

Un giovanissimo RGV si cimenta con le arti marziali...