Gulaebaghavali is a 2018 Tamil action comedy film, written and directed by Kalyaan and produced by KJR Studios. The film features Prabhu Deva and Hansika Motwani in the leading roles, with Revathi, Ramdoss and Yogi Babu among others portraying supporting roles. Featuring music by Vivek–Mervin and cinematography by Anandakumar, the film was released on 12 January 2018.
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Gulaebaghavali Movie Cast and Crew details ,News, Complete Details
|Gulaebaghavali Movie||Cast and Crew details ,News, Complete Details|
|Director of Gulaebaghavali||Kalyaan|
|Release date of Gulaebaghavali||January 12, 2018
|Hero of Gulaebaghavali||Prabhu Deva|
|Heroine of Gulaebaghavali||Hansika Motwani|
|Producer||Kotapadi J. Rajesh|
|Cinematography Gulaebaghavali||R. S. Anandakumar
|Production Company of Gulaebaghavali||KJR Studios
|Latest News about Gulaebaghavali||Latest News|
Gulaebaghavali Movie Review
Gulaebaghavali is incorporating with regards to responses — not the response of characters on screen, our responses. It creates a whole array of minutes. There is the honest to goodness chuckle commendable minutes, outright flinch commendable ones, minutes where you giggle and judge yourself a moment later and minutes where you judge other individuals for snickering. The best similitude to portray Gulaebaghavali is an ECG — in the midst of the drops and flatlines, there are couple of highs also.
Gulaebaghavali may have been advanced as a Prabhudheva-Hansika film. However, the film genuinely has a place with Revathy and the gathering of entertainers Yogibabu, Mansoor Ali Khan, Rajendran and ‘Munish’ Ramadoss. Revathy really ‘drives’ the film as Masha, in a tribute to her yesteryear part in Arangetra Velai. One of my most loved parts of Revathy, I was cheerful to see her play the brassy, little time con again on screen. There is additionally a photo of her from the Arangetra Velai at Revathy’s home which has an auto themed inside (she takes autos professionally). Revathy has many ‘mass’ minutes in the film and you can see the performer savoring each minute. Simply watch her strum away cheerfully with a scoop. Age hasn’t mellowed her irresistible appeal by any means — she is as yet the live wire that we know her to be.
In any case, sexism lifts its revolting head up in the film’s treatment of the other lady on screen. In a subplot, Hansika is requested to complete a ‘Niravana poojai’ (something even the eighties ought to be embarrassed about), as she interferes with one. A male character unemotionally takes a gander at Hansika in a short dress and says, “She is as of now nearly there, what more do you need?” As I winced, I could hear individuals sniggering around. This isn’t the end. Revathy’s character gets her offer as well. A few lines doublespeaks of ‘by what method can a lady outmaneuver/out-drive (or show improvement over) a man’ manifest? Amusingly, this makes Revathy’s jokes much more charming. I don’t recognize what to make of a film that had the two closures of a contention.
After Revathy’s part, Prabhudheva’s move moves left me reeling in sentimentality. His abilities made the tunes more watchable. I very preferred Vivek-Mervin’s energetic music yet the tunes were a weight that the sketchy screenplay couldn’t deal with. The film, in any case, closes on a high with some really interesting minutes. Pay special mind to Mottai Rajendran’s funny arrangement with his ‘mom’.
Gulaebaghavali is a thoughtless trick that depends on its giggles to enable the watcher to ride through the rationale escape clauses. A few late films have fallen under this new type of ‘careless performers’. In any case, for what reason does a film need to careless to be interesting? Originating from a background marked by elegantly composed comedies, is it a lot to request some rationale in our chuckles?