Anantapur History

Anantapur offers some vivid glimpses of the prehistoric past. It is generally held that the place got its name from 'Anaatasagaram' , a big tank, which means "Endless Ocean". The villages of Anaantasagaram and Bukkarayasamudram were constructed by Chilkkavodeya, the minister of Bukka-I, a Vijayanagar ruler. Some authorities assert that Anaantasagaram was named after Bukka's queen, while some contend that it must have been known after Anantarasa Chikkavodeya himself, as Bukka had no queen by that name.
Anantapur is familiarly known as "Hande Anantapuram" . ' Hande ' means chief of the Vijayanagar period. Anantapur and a few other places were gifted by the Vijayanagar rulers to Hanumappa Naidu of the Hande family.
The place subsequently came under the Qutub Shahis, Mughals, and the Nawabs of Cuddapah, although the Hande chiefs continued to rule as their subordinates. It was occupied by the Palergar of Bellary during the time of Ramappa but was eventually won back by his son, Siddappa. Morari Rao Ghorpade attacked Anantapur in 1757. Though the army resisted for some time, Siddappa ultimately bought off the enemy for Rs.50,000.
It then came into the possession of Hyder Ali and Tipu Sultan. Tipu hanged all the male members of the Siddappa family except Siddappa who escaped from his confinement at Srirangapatnam. After Tipu's death, it was once again taken back by Siddappa. Siddappa submitted himself to Nizam because of the treaty of 1799, who took the total control of the area. He was later pensioned off when British occupied the territory

Sunday 29 May 2011

'Vykuntapali' Review: Spoilsport (Review 2/5)

RSL REVIEW
Rating: 2/5

Banner: Hare Rama Hare Krishna

Cast: Krishnudu, Ajay, Tashu Kaushik, Tanikella, Subbaraju, Harshavardhan, Posani,
Rajeev Kanakala and others

Music: Anil Gopireddy

Editor: Marthand K Venkatesh

Cinematographer: Jawahar Reddy

Director: Anil Gopireddy

Producers: P Swathi, P Satyadeep

Release date: 27/05/2011


A multi-starrer of sorts has arrived and this has the team of Krishnudu, Ajay and Ranadheer
in the lead. Slated to be a mystery flick, let us see how curious it makes us.


Story:

A flashback tale, the story begins with the robbing of an ATM and drifts into the lives of three friends.
Chandu (Krishnudu) whose only goal in life is to take care of his mom and give her the best, 
Kranthi (Ajay) who believes in reforming the society by becoming a journalist, Michael 
(Ranadheer) who believes in luxury lifestyle and doesn’t mind doing crooked things.
Years pass by and each of them get into jobs with their own problems. While Chandu gets a decent job, 
he is still worried since his mom’s condition deteriorates. Michael is busy duping people for money and
his goal is to go to Singapore. Kranthi runs a charity home along with a software job, on the other hand, 
his team leader Snigdha (Tashu) is in love with him but he doesn’t reciprocate despite having feelings.
The story takes a turn with the clash of ideologies setting in and above that, a need for money. 
What happens after that forms the rest of the story.


Performances: Krishnudu comes up with a decent act. However, the milder he behaves 
the appealing he becomes. It is better he avoids dancing and other physical acts.
Ajay has a strong screen presence and intensity in his performance. He will shine if given proper 
roles with ample screen time.
Ranadheer was spontaneous and does his bit as required.
Tashu Kaushik is the sole visual delight. She struck a balance with glamour and performance to
add value to the film. 
Tanikella was elegant, Subbaraju was brief, Posani was little quiet, Rajeev Kanakala was neat, it was 
good to see Sathya Krishna back on screen, Harshavardhan was not used to the fullest. The others 
didn’t have much to offer.


+ PLUS :
  • Theme of the film
  • Background score
  • Spicy song of Tashu- Ajay
- MINUS :
  • Confused narrative
  • Too many elements in the story
  • Directorial flaws
  • Nil comedy
  • Zero entertainment quotient
  • Ghost episode
Analysis: In order to become a director, it is essential that he must have command over the 60 scenes.
Also, it is important that he must be aware of the pulse of the audience and the ability to structure the
scenes in such a way that they get connected. However, all that was missing here and it left a fluctuating effect.
While it is felt that the director had a noble intention to convey a good message, the lack of proper grip on the screenplay and weak conviction in critical scenes exposes the poor side of the film.
So, by merely thinking that what he has conceived will work onscreen without awareness of the
external factors will result in a wonderful flop. Something like that is expected to happen in this case as well.
LAST LINE : Broken ladders and disgusting snakes

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