Latest news with #HIT1
Hindustan Times
09-05-2025
- Entertainment
- Hindustan Times
Sailesh Kolanu scared Nani, Prateik Smita Patil, his wife with all the violence in HIT 3: ‘What's wrong with you?'
Director Sailesh Kolanu's recently released HIT: The Third Case, starring Nani, Srinidhi Shetty and Prateik Smita Patil, was rated A by the CBFC due to the violence. In an interview with Galatta Plus, the director admitted that the 'dark' space the film went into even left his wife, Swati, Nani and Prateik scared. (Also Read: HIT The Third Case movie review: Blood-soaked Nani steals the show in this gory fest that could've been better) Sailesh was asked how the film's team reacted when he narrated the script of HIT 3, and he replied, 'More than HIT 1 and HIT 2, HIT 3 goes into a little darker space. One question I was constantly asked was, what's wrong with you? In real life, I'm not a very serious guy; I'm a goofy person. It's definitely a question that Nani had asked me, and also the guy who played the antagonist (Prateik) also asked me.' More than anything, Sailesh said that the climax involving a baby was the part that left them jarred, 'Especially because it all goes to one extent, but once the nine-month-old baby comes in, it becomes very twisted. I'm a father of a four-year-old boy. So, imagine me writing that. It was very difficult for me, to be very honest. Then, justice to the script has to be done, so I had to delve into that. I still remember isolating myself for a few months when I was writing HIT 3. My wife is a little scared now after seeing the film.' HIT: The Third Case is the third part in the HIT franchise, which has been led by HIT: The First Case (2020) and HIT: The Second Case (2022). It tells the story of SP Arjun Sarkaar (Nani), who stumbles upon the dark web while solving a series of murders taking place across the country with the same modus operandi. Prateik plays Alpha, the leader of a cult of psychopaths who crave freedom.
The Hindu
03-05-2025
- Entertainment
- The Hindu
Sailesh Kolanu interview: I like my films to be self-explanatory, glad that ‘HIT 3' is offering a theatrical experience to the audience
HIT: The Third Case, or HIT 3, has brought cheer to the box office. Two days after the release of the Telugu film starring Nani and Srinidhi Shetty, which has also been dubbed in other languages, its director Sailesh Kolanu is relieved, happy and filled with gratitude. 'I finally caught up on sleep. I survived on an hour or two of sleep in the last two months, sometimes in the car rather than going home, when the film's post-production was underway,' he says, settling down for an interview at the production house Wall Poster Cinema office in Hyderabad. On the day of release, he watched the film at Prasads multiplex and at Sudarshan theatre to gauge audience reaction. 'It is great to see the energy in the theatres, and satisfying to see full halls.' Excerpts from the interview: When you work on a film for a year or more, you are too close to the material at every stage — writing, executing and post production. How critically are you able to evaluate the film? We lose objectivity midway since we are so married to the content. We have to remind ourselves of the intent and excitement with which we began the film. That keeps us going towards the finish line. Sometimes during post-production, I take a two-week break, revisit the footage to assess it better. It is tricky. Luckily, I can spot when things go wrong and discuss with my team on what can be done. Before we analyse the film, tell us about both the joy and challenges of directing actors of whom you have been a big fan — Venkatesh in Saindhavand Nani in HIT 3? In the beginning, going to the sets and saying 'action' and 'cut' to the stars I greatly admire was overwhelming. Slowly I tell myself that there is a job at hand; I have been entrusted the task of making a good film. It took me a week to stop treating Nani like a star. He, too, gave me a pep talk to put me at ease. In two instances in HIT 3, dialogues refer to Nani's career and image. These are fanboy moments. How do you decide how much fan service can be done while still staying true to the story? These dialogues were not premeditated and incorporated into the film. As I was working on the screenplay, I thought it would be fun to have these 'meta' references. Those moments are evoking great response in the theatres since they work in the context of the actor as well as the story. HIT 1 & HIT 2 were based on true incidents. HIT 3 is about a gang operating on the dark web. Is this fictional, but inspired by several real life incidents? The film mentions BTK in passing, but that is a different case of one serial killer in the United States who was nabbed after three decades. Several cults operate on the dark web. We did extensive research and also approached the cyber crime wing in Hyderabad for help. The issues on the dark web are deep and real, we exaggerated for the sake of the film. Vikram Rudraraju (Vishwak Sen) in the first film and Arjun Sarkaar (Nani) in the third film have their vulnerabilities. The former has PTSD and the latter is on the verge of midlife crisis. Is the intention to make these cops more human? Yes, these traits — Vikram's anxiety attacks and Arjun's hypertension and relationship struggles — make them more relatable to the audience, rather than them being invincible cops. You outline Arjun Sarkaar's personal life but reveal just what is required, trusting the audience to comprehend… I thought it would be enough to show a few aspects — his friction with his father, admiration for grandmother and emptiness after his mother's passing — to make people empathise with him. There are moments when he breaks down. It establishes that he is not the coldhearted man he is made out to be. The first two films in the HIT universe or HIT-verse played out like whodunnit crime novels. The third begins similarly but moves into a high action zone. How happy are you with the amalgamation? Very happy. This is what we wanted, to give the audience a theatrical experience. I wanted the transition to be seamless, so that the audience does not feel a disconnect with the HIT-verse. We began with the investigation and transitioned into a survival thriller. Mickey J Meyer's background score is quite unconventional. What was your brief to him? My brief to him was to keep the audience at the edge of their seats, and make them go berserk during theatrical moments. We wanted the music to work in the background, without preempting the emotions or screaming for attention. I prefer it that way. I want people to say they watched a good film, rather than single out the music or some other aspect. A film has to work as a whole. His music was in a new-age zone, using percussion and rhythm. The choice of the antagonist (name withheld to avoid spoilers) is also interesting. What made you cast someone who is unlike the macho villains we usually see in Telugu cinema? I like this actor's work a lot. If you notice, he is amiable when he receives Arjun Sarkaar and slowly his darker side is revealed. We did not reveal a backstory to address questions as to what made him the way he is, since nothing can justify his behaviour. In fact, many serial killers, like the ones shown on Netflix's Dahmer, do not know the reason for their behaviour. Production designer Sri Nagendra Tangala mentioned three layers in the design, and a backstory of the hideout. Can you elaborate? Part of the explanation is in the film. The riverside palace in the Northeast, close to Burma, is 150-years-old. After it ceased to be a palace, it functioned as a hospital and was then abandoned. There are three layers of detailing in every frame. Pause any frame in these portions of the film and one can notice the palace ruins, the hospital ramps or small boards, or the new bamboo structures that are holding the broken pillars together. The boxing ring is among the newer wooden structures. The audience is likely to notice several fine details on repeat viewing. The writing did not have many loose ends in the first two films, but this time a few questions have cropped up. One pertains to how the antagonist did not do a thorough check of the new members, especially Arjun Sarkaar. Can it be argued that even if a photo search was done, it may not help since the fictional Homicide Intervention Team works in the background unlike mainstream police? I like my films to be self explanatory, but let me explain. It is nice that people are raising such questions. But I have done my research. From what I know, we do not have sufficient facial recognition mechanisms in India. If it is available, several crime cases can be solved easily. Only popular faces can be searched. We do not even have an extensive DNA database to identify people. I take care while writing; if there are lapses, I would have to answer to a 100 people on the sets while filming. How come an officer with sharp observational skills does not notice or recall Mrudala (Srinidhi Shetty) from the earlier days? Can this be attributed to cinematic licence? I was a lecturer for nearly a decade and let me tell you that except for a few bright students that I am in touch with, I do not remember the faces of the others. In this film, the police officer was only a guest lecturer. Is Vikram Rudraraju (Vishwak) still on a sabbatical? Did you not want to rope him in as well for a cameo? It was already a stretch to show KD (Adivi Sesh) stepping in to help. It would have taken it too far to show Vikram also entering at that time. Though it would have made for a great theatrical moment, let me save it for one of the later films. The bilingual actor (name undisclosed to avoid spoilers) who will lead HIT 4 has already been a part of investigative cop dramas. Your film will have to raise the bar higher. Absolutely. The core idea of the crime and the story is ready, but I am yet to flesh out the screenplay. What's next? I will begin writing my next film, which may be a romcom or a fun film without blood and gore. That will help me return to this cop universe with a fresh approach.
The Hindu
01-05-2025
- Entertainment
- The Hindu
‘HIT 3' movie review: Nani lifts a visually slick but uneven thriller
In a scene from HIT: The Third Case, a character describes Arjun Sarkaar's (Nani) actions as 'classy'. Arjun retorts that this time, he intends to show his true self — stepping away from the image of refinement often associated with him. In another moment, when someone warns him that he 'cannot survive here', he responds, 'I've been hearing that since the beginning of my career.' These meta-cinematic lines feel less like commentary on the character and more like nods to the actor himself. In HIT 3, director Sailesh Kolanu leans into fan service, casting Nani — long embraced by family audiences — in a darker, bloodier setup. The film carries an 'A' certificate, and Nani effectively sheds his man-next-door image to become a ruthless cop whose methods, unsurprisingly, come under scrutiny. Departing from the slow-burn whodunit tone of the earlier films, this third instalment in the HIT universe trades mystery for carnage. It is not about who, how, or even why — the perpetrators are beyond reasoning. The real question is whether the film successfully marries crime thriller elements with full-throttle action to offer a gripping cinematic experience. Some segments land powerfully; others feel stretched or overly engineered. Arjun Sarkaar replaces the level-headed Krishna Dev (Adivi Sesh) as SP of the fictional Homicide Intervention Team's Visakhapatnam unit. His brutal reputation precedes him, and while he may appear to the outside world as a cop with a criminal streak, the film slowly peels back his layers. HIT: The Third Case Director: Sailesh Kolanu Cast: Nani, Srinidhi Shetty Run time: 157 minutes Storyline: Cop Arjun Sarkaar, known for his ruthless treatment to criminals, has to enter a dystopian world to save the lives of innocents. Sailesh Kolanu balances Arjun's tough-cop persona with a vulnerable personal side. While HIT 1 presented Vikram Rudraraju (Vishwak Sen) as a cop grappling with PTSD, HIT 3 positions Arjun as a man in the throes of a midlife crisis, with fluctuating blood pressure and a simmering sense of discontent. It is commendable that Nani portrays a character in his 40s, complete with greying hair, making a case for leading men embracing more mature roles. A gentle humour underlines the early sections, particularly in the strained dynamic between Arjun and his father (Samuthirakani), and in his repeated failure to charm women he meets through dating apps. The non-linear screenplay attempts to layer Arjun's character with mystery, but viewers familiar with mainstream storytelling may piece together the larger arc early on. The narrative spans Kashmir, Arwal in Bihar, Jaipur, and Arunachal Pradesh — though the crimes could easily have occurred within the Telugu States. The geographical sprawl, however, raises the stakes of the HIT universe. The first two HIT films stood out for their attention to detail — especially the procedural aspects and the unexpected appearance of helpful pets. While there are no dogs this time, something else steps in to offer critical clues. As with its predecessors, the title card appears during a pivotal sequence. Familiar faces from earlier films return, some playing key roles, others making brief appearances. The romance track, which at first feels like a digression, is eventually woven meaningfully into the plot. Still, one can't help but wonder — how did a cop famed for his observational prowess miss the obvious? As the broader pattern of the crime emerges, the film shifts from mystery to action. The intermission card sets the tone for what lies ahead — for Arjun and for the viewers. The visual palette (cinematography by Sanu John Varghese) plays its part too: when men in white step into a darker setup, everything soon bleeds into crimson. Since the trailers have already revealed the most violent scenes, the remaining moments of brutality don't shock. The violence plays out in a surreal, dystopian setting, somewhat reminiscent of Squid Game. It's brutal, yes, but not gratuitous. Mickey J Meyer's musical score fits the setting. That said, the pre-climax and climax feel overstretched. These moments — and Arjun's arc more broadly — suggest how thin the line can be between law enforcer and lawbreaker. Those familiar with Arthur Conan Doyle's work may recall how Sherlock Holmes and Professor Moriarty mirrored each other: one used intellect to solve crime; the other, to create it. Nani captures Arjun's layered persona with conviction. He anchors the film through some of its weaker portions, clearly relishing the chance to break from his familiar romantic, comedic and emotional characters. He's entirely believable as a cop capable of lethal force, yet quietly wrestling with his own emotional fragility. However, unlike its predecessors, HIT 3 limits its supporting characters. Earlier films relied on ensemble efforts to crack cases, but here, the spotlight remains largely on Arjun. Even so, Komalee Prasad manages to stand out. Srinidhi Shetty is a welcome addition to the franchise, bringing both elegance and an unexpected twist to the narrative. Amid the chaos and violence, Sailesh Kolanu finds space for moments that matter. In one scene, Arjun praises a female colleague for a critical breakthrough and pointedly clarifies that the compliment isn't patronising or gendered — it is purely merit-based. Female officers play pivotal roles in key scenes, reinforcing the message that competence transcends gender. At the same time, the film makes a broader point: regardless of gender, human beings can be capable of immense good or profound evil. In a recurring comic beat, the otherwise foul-mouthed Arjun tones down his language in the presence of women. There is also a quirky inclusion of pravachana (discourse) snippets by Garikipati Narasimha Rao, offering a brief but amusing contrast to the gritty proceedings. In a refreshing casting choice, the principal antagonist is played by an unlikely actor from the Hindi film industry. He brings the required menace to the role, defying the stereotypical trend of casting hyper-masculine Bollywood stars as Telugu villains. That the antagonist refers to himself as an 'alpha' adds a darkly humorous layer to his pathology. While HIT 3 attempts to deliver a grand, theatrical action spectacle, it is not entirely satisfying. However, it does succeed in setting the stage for the fourth instalment. The next film will hopefully marry the franchise's expanding scale with the taut, brooding thrillers that gave the first two entries their distinct edge.
