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'Hari Hara Veera Mallu': Pawan Kalyan's remuneration for the film; actor says ' I'll consider my remuneration only if...'

'Hari Hara Veera Mallu': Pawan Kalyan's remuneration for the film; actor says ' I'll consider my remuneration only if...'

Time of India4 days ago
is all set for his massive comeback with the epic film 'Hari Hara Veera Mallu' which hit the big screens on this day, July 24.. With paid premieres set for the evening of July 23, the film's release marks the end of a turbulent journey that spanned over five years.
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During the press event for the film, as reported by Hindustan Times, the actor-politician admitted that he typically avoids promotions but now feels a moral obligation towards producers whose projects were affected by both natural and political disruptions. 'There was Corona, a natural disaster, and then a man-made disaster due to politics,' he said. That growing sense of accountability appears to be the driving force behind his renewed presence ahead of the film's release.
'I'll consider my remuneration only if it's a hit'
During the promotional interaction, Pawan touched upon a topic that has long intrigued trade circles—his remuneration for 'Hari Hara Veera Mallu'. Reports have speculated that he charged anywhere between Rs 11 crore and Rs 20 crore for the film, a considerable drop from the Rs 50 crore he was said to have taken for 'Bro'.
Hari Hara Veera Mallu | Song - Evaradi Evaradi
However, brushing aside the rumours, Pawan hinted that the numbers don't matter much to him right now.
'Because even my remuneration for this…. I don't know, I'll consider it if it may become a hit tomorrow,' he said candidly. His priority, he emphasized, was for the film to succeed so that the producer, AM Rathnam, could recover his investment.
A film long in the making finally arrives
'Hari Hara Veera Mallu' has seen multiple delays, director changes, and a long production stretch, particularly as Pawan Kalyan took time off to contest in the Andhra Pradesh elections, later becoming the Deputy Chief Minister.
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Initially directed by Krish, the film was eventually completed by Jyothi Krisna, Rathnam's son.
In this long-awaited period drama, Pawan plays the titular outlaw, with Nidhhi Agerwal appearing as dancer Panchami, and Bobby Deol taking on the role of Mughal emperor Aurangzeb. Titled 'HHVM: Part 1—Sword vs Spirit', the film's sequel is expected to move forward depending on the response to this first part.
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Movie Hari Hara Veera Mallu – Part 1 Review: Bombastic, not fantastic
Movie Hari Hara Veera Mallu – Part 1 Review: Bombastic, not fantastic

Time of India

time3 hours ago

  • Time of India

Movie Hari Hara Veera Mallu – Part 1 Review: Bombastic, not fantastic

Krish Jagarlamudi . The much-delayed and hyped multi-lingual movie Hari Hara Veeramallu has arrived at theaters. The movie's release was put off by five years due to various reasons including the pandemic. Its shooting began under the guidance of directorbut he had to exit. Later, Jyothi Krishna, the son of well-known producer AM Rathnam, took the responsibility of completing the shooting. The result: The tonal and dramatic disparities are evident between the pre and post-intermissions. The failure of the directors to translate the potential of the core premise of the movie to the screen is its plot revolves around a king entrusting a well-known fugitive with a task to reclaim a priceless diamond. The movie begins with Veera Mallu attacking officers from the British East India Company and recovering diamonds from them. Impressed by Veera Mallu's skills in stealing diamonds, a king (Sachin Khedekar), assigns him to steal diamonds that are being sent to Golconda Nawab. Veera Mallu meets Panchami (Nidhi Agerwal), a devadasi, and falls in love with her. Panchami pleads with Veera Mallu to save her from the king, who wants to keep her as his mistress. You have to watch the movie to know what happens to Veera Mallu and whether or he reaches Golconda or far as the performances of actors are concerned, Pawan Kalyan has worked hard but fails to meet the expectations of the audiences, including his hardcore fans. He looks good in action scenes but too much glorification and computer graphics have played spoilsport. Action scenes, especially those of the hero and heroine jumping from one building to another and flying like kites to escape from enemies, are too far-fetched. It is not clear what the director was hoping to achieve with such scenes. Nidhi Agerwal looks good, but has no chance to showcase her acting skills. Bobby Deol, as Aurangzeb, is convincing. Sathyaraj, Nassar, Subbaraju, Raghu Babu give good by MM Keeravani is not up to the mark. Art director Thota Tharani has done a commendable job. If you have nothing much to do, you can watch this film.

This Bollywood actor was once rejected for being ‘too good looking', now runs ₹100 cr skincare brand, fitness studios
This Bollywood actor was once rejected for being ‘too good looking', now runs ₹100 cr skincare brand, fitness studios

Mint

time4 hours ago

  • Mint

This Bollywood actor was once rejected for being ‘too good looking', now runs ₹100 cr skincare brand, fitness studios

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Souza's 4 rare works to be auctioned this week
Souza's 4 rare works to be auctioned this week

Time of India

time4 hours ago

  • Time of India

Souza's 4 rare works to be auctioned this week

Panaji: A rare collection of four distinctive artworks by modernist painter of Goan origin, F N Souza, collectively valued at over Rs 1 crore, is set to lead the upcoming online auction by AstaGuru Auction House on July 29 and 30. The artworks include two pieces from his 'Head' series periods (1964 and 1985), a dynamic 1990 landscape, and a 1987 nude inspired by Khajuraho sculptures. 'Souza was a pioneering force in the Indian modernist art movement,' said Sneha Gautam, the director of client relations at AstaGuru Auction House. 'As a founding member of the Progressive Artists' Group in the 1940s, he was instrumental in challenging conventional Indian artistic traditions and introducing a bold modernist sensibility, especially at a time when the country was finding its distinct artistic voice. ' Gautam said, 'His work played a key role in shaping the trajectory of modern Indian art, bringing modernist styles and ideas to the forefront.' The artworks span various styles and themes that the artist concerned himself with throughout his career. The curation also showcases Souza's command of and proficiency in varied mediums. Lot No. 37 and Lot No. 42 showcase his different takes on portraiture and are reminiscent of his 'Head' series. The series featured portraits influenced by European art movements that displayed the artist's inner turmoil through the depiction of distorted faces. While Lot No. 37 is a colourful untitled work executed using acrylic on paper in 1985, Lot No. 42 is a charcoal-on-canvas work from 1964. Lot No. 56 belongs to Souza's vast oeuvre of landscapes. Executed in 1990, the oil-on-canvas work exemplifies his visceral approach to environment and structure. With a dense web of jagged lines and rhythmic brushstrokes, the composition collapses foreground and background into a frenetic tangle of green, ochre, and blue. Lot No. 84 is an untitled pen-on-paper work executed in 1987. It reveals Souza's fascination with creating nude works and the inspirations he took from the erotic sculptures of the Khajuraho temples. Captivated by the uninhibited expression of human desire found in these ancient carvings, Souza drew from their raw physicality and symbolism, particularly in his depictions of the female nude and intertwined couples. 'Characterised by assertive lines, striking colours, and a fusion of abstraction and figuration, Souza's art drew inspiration from Cubism, Expressionism, and other European movements,' Gautam said. 'His paintings frequently explored existential and religious concerns, while also offering sharp critiques of social and political structures.' She said, 'With a distinctive visual language, his use of line and colour imbued his work with dynamic tension, often evoking both intensity and unease. Souza left behind an unrivalled legacy of rebellion, paving the way for generations of artists to come.'

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