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About Darling Movie 

Written by : A. Karunakaran

Directed by : A. Karunakaran

Music by : G. V. Prakash Kumar

Starring : Prabhas, Kajal Aggarwal, Prabhu

Release date : 23 April 2010

Running time : 153 mins

Language : Telugu

Country : India

Storyline of Darling Movie 

In 1998 when A.Karunakaran, made 'Tholi Prema', he was portrayed as a trailblazer of another wave in the class of sentiment. Many others kept on aping his style and strategy and succeeded. Nonetheless, Karunakaran adhered to when he knew best and kept on making more romantic tales. His most recent film 'Dear' is one more romantic tale which has every one of the fundamental elements of what you anticipate from a Karunakaran's film. The film featuring Prabhas and Kajal is set in our current reality where everybody is great commonly. It portrays the romantic tale of how Prabhas meets his experience growing up darling Nandini.

Once more what's going on with it : Prabhas begins as Prabhas, an Age Y punk who's sitting tight for his experience growing up darling Nandini (Kajal) to stroll into his life. At the point when his companion (Shraddha Das) proposes her affection to him, Prabhas turns it down. Despondent with this choice, Shraddha Das endeavors self destruction which rankles his dad (Mukesh Rishi). He powers Prabhas to acknowledge his girl's proposition yet before Prabhas acknowledges, he portrays the narrative of how he met Nandini. The remainder of the story is about how Prabhas and Nandini meet and how they experience passionate feelings for one another.

What is Great: 'Sweetheart', as a film never goes over the top with itself. There are a lot of entertainers messing about to have a happy great time be it in Switzerland or Araku. It's the little snapshots of happiness which drive the story forward. On the off chance that you have firmly noticed Karunakaran's movies, you will understand that there are not really any antiheroes or dark shades in the person. Same is the situation with this film. Nearly everybody is great on a fundamental level which inturn drives us to focus on the growing romantic tale. In spite of the fact that it's not unobtrusive, the romantic tale has its portion of fine minutes. Make that scene effort in Switzerland for instance, where Kajal understands that Prabhas is enamored with her. Or on the other hand even the scene where Kajal acknowledges how pleasant an individual Prabhas is the point at which the later tackles an immense situation of his family companion. Minutes like these don't go purposeless and the film is loaded up with such episodes.

Of the star cast, Prabhas appears to have lived it up while going for the film. His non-verbal communication particularly in the final part of the film is powerful; in spite of the fact that he looks stunned in the vast majority of his scenes. His style explanation particularly the ensembles and moves are essential. Prabhu, Ahuti Prasad, Dharmavarapu Subramaniam, M S Narayana, Srinivas Reddy, Shraddha Das and Mukesh Rishi are powerful in their jobs. In the midst of every one of them, the courageous woman of the film Kajal Agarwal amazes with her richness such a lot of that it's practically infectious! Take that scene where Kajal meets Prabhas' music band in Switzerland where she argues for an opportunity to sing for them. Kajal is very happy in the vast majority of her scenes and breezes through them with energy.

What is terrible: Romantic tales have been an attempted and tried recipe. Karunakaran doesn't sincerely endeavor to do anything new in 'Sweetheart' or attempt to decipher love according to another point of view. Maybe this makes the film even more unsurprising. The last part of the film hauls a little and over stays its welcome, all things considered.

Specialized Offices: Andrew's cinematography is delightful in the film. The melodies and scenes shot in Switzerland have a decent blend of varieties like blue and green which is very lovely to watch. G V Prakash's music is okay. Swamy's discoursed are great. Kotagiri Venkateswara Rao's altering is nice. Peter Heins' activity movement is very successful. Karunakaran has additionally taken care of the story and screenplay separated from the bearing of the film. While there are a few cunning exciting bends in the road in the film, the screenplay might have been exceptional particularly in last part to make it really captivating. All things considered, 'Sweetheart' is an ordinary Karunakaran's film with a perfect storyline bound with great parody and family show.

Bottomline: 'Dear' is a seriously innocuous film, as in, it doesn't hurt your knowledge. It scarcely views itself pretentiously and Karunakaran's recipe works generally. The tale of a jolly legend is stricken by a delightful young lady; the romantic tale between this couple and a cheerful consummation. This recipe might have been finished to death, however it's as yet a puzzle that it works again and again. Approval for 'Sweetheart' and the threesome Karunakaran, Prabhas, Kajal. Go watch it and in the event that you request this 'Cheddar Cake' ensure that you watch the end credits for some 'additional cheddar'! Life's in every case great in Karunakaran's reality.

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 I recoil perceptibly when I watch Exorcist III, The Sparkling keeps me conscious the entire night each time I watch it, and Rosemary's Child is without any help liable for much nervousness. Also, there's some youth injury related with both Steven Spielberg's Apparition and the Shyam and Tulsi Ramsay 1988 awe-inspiring, Veerana.

Slam Gopal Varma also has played with my inner boogeyman, with Bhoot and champion successions in Raat and Kaun.

Hence it is with much appreciation that I grin at Ramu for Dear, a film that flutters between a couple of sorts yet truly focuses on no one track - - especially the frightfulness bit. It has a grotesque plot yet no problem, I will rest sufficiently this evening. Much appreciated, chief.

Gathered in very essential thought from the 1945 David Lean parody Carefree Soul - - thus adjusted from Noel Quitter's 1941 play of a similar name - - RGV's Sweetheart is the tale of a stricken, tireless ghost.

Merry was about a hitched man being spooky by his most memorable spouse. Until his subsequent spouse kicks the bucket and the unfortunate man - - Rex Harrison, wanting to be trapped in a Spanish storm all things being equal - - is presently spooky by the two his resentful exes. The exchange is silly, wry enough to hone a swearword against. A remarkable warbler.

Ramu, obviously, takes an alternate tack. Dear is the account of Aditya Soman (Fardeen Khan), pretty much blissful in his one-child union with Ashwini (Isha Koppikar). But he can't avoid a piece as an afterthought, consequently enters Geeta (Esha Deol), a willing secretary who looks great filled a couple of denims. Thus everything is happy and philandering until - - and please, this isn't a SPOILER assuming you've seen the promotions - - Geeta bites the dust in a scene straightforwardly suggestive of one more RGV creation, My Significant other's Homicide, yet gamely concludes that simple demise isn't sufficient to do her and Aditya part. Start the frightful.

We are in general mindful RGV can work really hard with both repulsiveness and parody, yet blending the two - - also collapsing in a couple of yolks of nearly Balaji-level drama - - isn't the most reasonable of choices. Long-term Ramu fans will track down a couple of laughs without a doubt, particularly for certain nonchalantly grim cuts of incorrigible humor tossed to the supporting characters: a tiresome letch, a Wrongdoing Branch Investigator with a 007-film headache, and his inauspiciously quiet partner, with a glare like a Rottweiler.

Discussing glares, the whole Esha Deol character, and the panics around her, fixates on a striking sets of eyes. Deol, while at her most unnerving while resistant gazing up as a cadaver, does well in Dear, with a piercing and significantly incapacitating look. She mistreats Fardeen's life, from nearly transforming his commemoration make-out meeting into a trio, to hinting totally sly way of behaving by springing up under his work area. Her personality is a straight one, and Esha some way or another hugs the easygoing idea of the film, her winks and grins showing improvement over the totally exaggerated foundation score folded around unsurprising panics.

Isha Koppikar as well, truth be told, gets along admirably. She's for the most part valid in a movie that is moderate, besides regarding cinematography - - in the event that chiefs have stages, this is Ramu's Shot-Piece Period, with clear surprising casings continually progressing. No doubt Isha truly does approve while she's playing the working class spouse, yet her inconsistent omissions into English are a triviality Salmanic: the inappropriate complement stands out.

The essential blemish lies with the film's driving man. I'm quite persuaded Fardeen peruses his Hindi lines off a phonetic elevated monitor. Nothing bad can be said about his articulation fundamentally, yet his conveyance is so wooden you can nearly see splinters close to his lips. Fardeen, tragically, is this film's heavy point of convergence, with high showmanship expected in each scene. Sweetheart has a twofold chinned legend making a good attempt to look frightened, flopping gravely to the point of really making us long for Scream Sovereign Urmila. Bad.

The film's plot, as expressed, acquires from Happy Soul however just in, indeed, soul, (sorry, truly) choosing to blindly go for it soon enough and turn seriously sensational. Furthermore, on the grounds that it functions as a five-line rundown doesn't mean it has sufficient meat to be transformed into a component film. Dear works in fits and sprays, a really watchable film, yet with the kind of a short, made-for-television film. Sure it has its minutes, yet there's very little you will recall when you leave the theater, and loathsomeness lovers aren't probably going to wonder over a lot of it.