Ammana Mane Review




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    MOVIE NAMEAmmana Mane
    DIRECTOR Nikhil Manjoo
    PRODUCERSmt. Atmasri and R. S. Kumar
    WRITER
    CINEMATOGRAPHE
    MUSICSameera Kulkarni
    EDITOR
    RELEASE_DATEMarch 8, 2019
    RUNNING_TIME120min
    HERORaghavendra Rajkumar
    HEROINERohini
    SUPPORTINGCASTManasi Sudhir, Nikhil Manjoo, Suchendra Prasad.
    PLAY BACK SINGERS
    PRODUCTION COMPANIES
    LANGUAGEKannada
    MULTIPLE LANGUAGE
    GENREDrama
    BOX OFFICE COLLECTIONS
    STORY RATING2.3
    SCREENPLAY RATING2
    DIALOGUE RATING2
    ACTION RATING2

    INTRODUCTION

    A physically challenged boy is raised by a single mother, who helps him overcome his physical limitation and lead a normal life. Fortunately, he goes on to become a school teacher, who enjoys his family time, with his mother, wife, and daughter. However, he is put in a spot when he is faced with legal and emotional issues. Will he be able to endure this hard time?

    SYNOPSIS

    Ammana Mane is a family drama film produced jointly by Smt, directed by Nikhil Manjoo Lingaiah. Atmasri and R. While S. Kumar scored music for this film Raghavendra Rajkumar, B Jayashree and Manasi Sudhir, Sameera Kulkarni plays the main lead roles along with Suchendra Prasad, Tabla Nani, Pranaya Murthy and many others in this film.

    STORY

    The story revolves around a relationship between mother and son, something that has been explored frequently. Since childhood Rajeeva (Raghavendra Rajkumar) has been a partially paralyzed boy. With his father, who after a point loses patience and even leaves home, his clumsy behavior doesn't go well. So Rajeeva has only his mother (Rohini Nagesh) to turn to, who raises him to become independent and stand on his own two feet, despite every hurdle that comes through.
    Rajeeva grows up in a school over the years to be a PT master who is married and has a child. His mother begins to face the same problems as a child with age. Despite his own struggles, with his wife's help, he takes care of his mother. But his daughter Shive (Sheetal) is testing him, who puts him in a situation where he has to make a decision between her and his mother. How he faces the circumstances forms the core of Ammana Mane, who has two subplots–a father who goes the legal way to get the admission of his daughter to college done, and the second, an inspector who realizes his negligence toward his mother after her death.

    ANALYSIS

    "The film is about my mother's service. I related to the character as I reminded my mother of similar moments. While playing the part, I tried to visualize my mother," says Raganna, who also credits Nikhil for the intense portrayal of the mother-son bond.The movie is set in a lower middle class family and echoes this section's struggles and feelings. There's a consumer court plot along with this thread, which Rajeeva fights with all his might. Throughout the film, several relevant issues are addressed. Tabla Nani also has some comic tonic.Raghavendra Rajkumar may have stayed away from the limelight for more than a decade and a half due to ill health, but we are all aware of the kind of support his mother Parvathamma gave him during his illness, and his wife Mangala gave him. After watching the film, one can be sure that growing and healing around these women prepared Raghanna effortlessly to get into the shoes of Rajeeva.
    Ammana Mane is the adaptation of writer Sri Lalithe’s novel. The movie has passed with flying colours in terms of translating a book into a film. But the movie may not appeal to film buffs who are looking for entertainment. The lead character, by nature itself, is slow. The way he talks, walks and understands is very slow and this is echoed in every frame. Just like the hero, the film is also slow-paced and though that goes very well with the character, it may not be very appealing to the audience. Having said that, the overly sentimental women characters too may sound melodramatic to many.
    PLUSPOINTSStory, direction
    MINUSPOINTSsongs
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    • STORY
    • DIALOGUE
    • ACTION
    • SCREENPLAY
    2.1

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