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Sivaji on the success of ‘Court’: A new generation is discovering me

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Sivaji on the success of ‘Court’: A new generation is discovering me


Sivaji, in a still from ‘Court: State Vs A Nobody’
| Photo Credit: Special Arrangement

Actor Sivaji Sontineni, widely known as Sivaji, tears up for a fleeting moment when he talks about the adulation coming his way since the release of the Telugu film, Court: State Vs A Nobody. “It has been 13 years,” he says, referring to his hiatus from cinema, during an interview at his office in Film Nagar, Hyderabad. He has witnessed the audience’ reaction up close during the promotional tour in the Telugu States and says his family is over the moon. “I tell my children that this euphoria is not forever. I am a middle class man; I hold back my emotions and pray that even if things do not get better, it should not go downhill.” 

With more than 70 films to his credit, as lead actor and in pivotal characters in films such as Missamma, Mr & Mrs Sailaja Krishnamurthy and Indra from the later 1990s to the early 2010s, Sivaji is glad that a new generation of writers, directors and audiences are discovering him. 

The reckoning

Prior to the release of Court, its director Ram Jagadeesh had told this journalist that Sivaji’s portrayal of the antagonist character, Mangapathi, will become a topic of discussion.

Sivaji acknowledges, “The day Court was pitched to me, I knew that this is the film I had been waiting for.” He draws a comparison with Shruti Haasan’s character in Race Gurram, where she remains poker faced, concealing an upheaval of emotions. “That was pretty much my condition.” In pre-release promotions, he had stated, “this is Mangapathi’s world and all other characters are living in it.” He reflects, “That statement did not come from arrogance; I was aware of the character’s impact.” 

Initially, Sivaji was curious to know how Ram had envisioned him as an overbearing, ego-driven patriarch, which is unlike the characters he had portrayed earlier. “Ram and his co-writers Karthik and Vamsi told me that they would spend all day developing the script and in the evening, they would watch Bigg Boss 7. Watching me in the reality show, they had discovered their Mangapathi. They told Nani (actor-producer) that they could not imagine anyone else in that part.”

Like a monarch

Sivaji in ‘Court: State Vs A Nobody’
| Photo Credit:
Special Arrangement

Sivaji recalls completing all his shots in one or two takes. “Ram told me that Mangapathi thinks of himself as a monarch, speaks at a pitch that makes everyone listen. I understood what defines his behaviour. There is a Mangapathi in every family, in varying degrees. A father tends to be protective about his daughter and a son is protective about his mother. This character crosses the line.”

He speaks in earnestness about his co-stars Priyadarshi, Rohini, Subhalekha Sudhakar, Surabhi Prabhavathi, Rajasekhar Aningi, Harshavardhan, Roshan and Sridevi, and the technical team. “The dialogues and body language conveyed the depth of each character. Years ago, when I was working as an editor in Gemini television, I would watch Telugu classics featuring SV Ranga Rao, Rao Gopal Rao and Nagabhushanam. These legends and actors like Prakash Raj have shown us how antagonists can command attention with their dialogue delivery. I am glad I could do something on similar lines,” says Sivaji. 

In early 2024, Sivaji featured in the ETV Win web series, 90s: A Middle Class Biopic. This opportunity came to the actor after years. “I devoted my time to politics. I have no regrets. Before that, I was hurt that I was an unsung hero in a few films. I have put all that behind me now. My wife supported me through each phase of my work. One day, my children told me that I should act again.”

However, Sivaji did not want to knock the doors of directors and producers for opportunities. During the pandemic, he bought the rights of a Tamil film and worked on producing a Telugu remake. “Work was underway and then we went in for a second lockdown. I took it as a sign that this film was not meant to be.” 

The turning point

In the meantime, Sivaji contacted producer Bapineedu of ETV Network. “We spoke about the possibilities to collaborate by which I could produce a film.” 

Soon, he got the opportunity for the 90s web series and Bigg Boss 7. “I was not sure if I could be a part of Bigg Boss, since I had committed to the 90s. Bapineedu encouraged me to do both. We filmed the web series in 25 days and on the 27th day, I joined the reality show. I liked the concept of being among strangers in the Bigg Boss house and expressed my confidence to the MAA TV show producer that I would be among the last to leave that house.” Sivaji was the second runner-up that season.

Now, Sivaji is completing his home production that also stars Laya, his co-star from the early 2000s. More films are in the pipeline. “This morning, I listened to a story narration before this interview. I am hopeful of continuing to do qualitative work. If money is all that I was looking for, I would have done a dozen films. I want my work to be significant.” 



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Sunny’s Jaat beats Gadar to become his second biggest hit, Netizens SLAM Amitabh Bachchan for ‘silence’ on Pahalgam attack: Top 5 news | – The Times of India

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Whether it’s a sizzling new project announcement or a behind-the-scenes look at the lives of your favorite stars, we’ve got you covered. From Sunny’s Jaat beating Gadar to become his second biggest hit, Pahalgam attack sparking calls for BOYCOTT on ‘Abir Gulaal’ to Netizens Slamming Amitabh Bachchan for ‘silence’ on Pahalgam attack; here’s a quick roundup of the top five stories making waves in the entertainment world today!
Sunny’s Jaat beats Gadar to become his second biggest hit
Sunny Deol’s latest film, Jaat, has surpassed Gadar Ek Prem Katha to become his second-biggest hit after Gadar 2. The movie’s success at the box office has made it a significant milestone in his career, further cementing Deol’s position in Bollywood’s highest-grossing films.Samay says he is unable to sleep after Pahalgam attack
Samay Raina has revealed that he is struggling to sleep after witnessing the recent terror attack in Pahalgam. The comedian, who was in the area during the incident, shared how the traumatic experience has affected his mental health, leaving him unable to rest or find peace.

Pahalgam attack sparks calls for BOYCOTT on ‘Abir Gulaal’
Following the recent Pahalgam terror attack, Twitter users have called for a boycott of the upcoming Fawad Khan and Vaani Kapoor starrer Abir Gulaal. Many netizens have recalled the controversy surrounding Ae Dil Hai Mushkil’s release after the Uri attack, urging similar action against the new film due to Fawad’s involvement.

Emergency in legal trouble over ‘historical inaccuracies’
The makers of Emergency, the upcoming film starring Kangana Ranaut, have been sued by author R. N. S. Ayyar over historical inaccuracies. Ayyar claims that the film misrepresents historical events and portrays facts incorrectly, leading to legal trouble for the film’s production team.

Netizens SLAM Bachchan for ‘silence’ on Pahalgam attack
Amitabh Bachchan’s recent cryptic tweet, posted without context, sparked confusion and criticism. While other celebrities condemned the deadly Pahalgam terror attack, Bachchan’s silence on the tragedy drew backlash. Fans questioned his responsibility to address national issues, with one remarking, “Silence speaks volumes, Amit Ji.”





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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes

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Curated by senior dancer Geeta Chandran, the 18th edition of NATYA VRIKSHA features dance performances, workshop and lecture.
| Photo Credit: Special Arrangement

NATYA VRIKSHA is all set to present the 18th edition of its special event, organised each year to mark World Dance Day. It is conceived and curated by senior Bharatanatyam dancer Geeta Chandran.

“World Dance Day is a moment to pause and celebrate what dance brings into our lives, not just technique or tradition, but emotion, truth and transformation. This festival is our offering to the art, and to the young dancers who will carry it forward,” says Geeta Chandran.

What sets this festival apart is its inclusive embrace of classical, contemporary and experimental dance forms. This year’s line-up includes performances by Bharatanatyam, Kathak, Kuchipudi and Odissi artistes.

Abhinaya Nagajothy will perform Kuchipudi.
| Photo Credit:
Special Arrangement

Each day, the festival opens with a workshop ‘Movement and Dance Aesthetics’, to be conducted by dancer and choreographer, Tanusree Shankar. Over the course of two days, there will be a witty theatrical retelling of an ancient story, scripted and performed by Ramaa Bharadvaj as well as a lecture by Ashok Vajpeyi on how dance, while rooted in the present, opens portals to imagination, memory and transcendence. There will also be performances by Madhura Bhrushundi (Bharatanatyam), Dheerendra Tiwari (Kathak), Abhinaya Nagajothy (Kuchipudi) and Shashwati Garai Ghosh (Odissi).

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.
| Photo Credit:
Special Arrangement

Another key highlight is the conferment of the sixth NATYA VRIKSHA Lifetime Achievement Award to SPIC MACAY and its founder Kiran Seth, in recognition of their tireless efforts in preserving and promoting India’s cultural heritage amongst youth. “This honour is not mine alone — it belongs to every student who has sat in awe before an artiste, to every volunteer who has given their time to SPIC MACAY, and to every institution that believes in the power of the arts to shape minds and lives,” said Kiran Seth.

The World Dance Day Festival 2025 will take place on 26th and 27th April at India International Centre, New Delhi.

The festival line-up

April 26, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: Lecture: “Dancing Away” by Ashok Vajpeyi; 6:30 p.m: Young Dancers Festival – Madhura Bhrushundi (Bharatanatyam) and 7.45 p.m.: Dheerendra Tiwari (Kathak). 

April 27, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: ‘Avatarana – The Story of  Natya’, scripted and performed by Ramaa Bharadvaj; 6:30 p.m.: Young Dancers Festival featuring Abhinaya  Nagajothy (Kuchipudi) and 7.45 p.m.: Shashwati Garai Ghosh (Odissi).



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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama

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Prasanna Venkatraman.
| Photo Credit: RAVINDRAN R

Prasanna Venkatraman’s concert for Rasika Ranjani Sabha and Gaanapriya Foundation featured the Purandaradasa composition ‘Rama Nama Payasake’ with a pallavi that reads like a divine recipe: “To the payasam of Rama’s name, add the sugar called Krishna, and mix the ghee of Vittala’s name — and savour it”.

Taking forward this blend of devotion and music, Prasanna, along with M. Vijay (violin) and Poongulam Subramanian (mridangam), embraced the concert’s theme — ‘Kritis on Rama by Vaggeyakaras upto Tiruvarur Trinity’ — to present a melange of delectable music at R.R. Sabha’s Kamakoti Hall.

Not surprisingly, it was Anjaneya who ushered in Rama as Prasanna began with Dikshitar’s ‘Pavanatmaja’ (Nattai-Khanda Chapu), with the kalpanaswaras providing a vibrant start. ‘Maakelara vicharamu’ in Ravichandrika served as an ideal gateway to Rama’s world, with Tyagaraja’s sentiment — “What is there for me to worry about with you around?” — rendered in a serene flow. The swara exchanges at the pallavi opening saw the accompanists respond in perfect synchrony.

Evocative rendition

Prasanna’s delineation of Anandabhairavi was evocative and replete with the signature vakra phrases. ‘Rama nama payasake’ in Rupakam, with its lyrical instruction on how to prepare, serve and partake of devotional nectar, was sung in a manner that reflected its profound joy.

Dikshitar’s ‘Sriramam ravikulabdhi somam’ in Narayanagowla was an apt pick. This kriti encapsulates the Ramayana in a nutshell. Prasanna negotiated the challenging swarakalpana for the delicate raga — bearing the hues of Kedaragowla, Surutti and Kapinarayani — with elan, and Vijay proved equal to the task in his response.

“Emani pogadudhura’ in Veeravasantham, in which Tyagaraja wonders aloud, “How shall I extol you, Srirama?”, was rendered with verve, followed by snappy kalpanaswaras. Bhadrachala Ramadasa’s ‘Emayya rama’ in Kamboji-Khanda Chapu brings out the attributes of Rama, and Prasanna’s rendition was imbued with the raga’s characteristic gamakas and grandeur.

The regal aura of Atana came to the fore in Prasanna’s precursor to ‘Ela nee dayaraadhu’. The classy composition, which sees Tyagaraja at his descriptive best, was another fitting choice. The cascade of vocatives extolling Rama, the distinctive melodic appeal of the raga, and the exquisite rendition combined to provide an elevating experience.

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 
| Photo Credit:
Ravindran_R

Good teamwork

The main raga of the evening was Saveri and the composition Tyagaraja’s ‘Rama Baana’, which celebrates the prowess of the divine archery that felled Ravana. Prasanna’s alapana unfurled with the raga’s natural ebb and flow, offering hints of the kriti in store. Vijay’s version mirrored that of the vocalist. After a polished presentation of the kriti, Prasanna took up the sole niraval of the recital at the anupallavi opening ‘Bhamakasapadu’. It was extensive and absorbing, and well supported by the team. The tani avartanam by Subramanian was succinct and spirited.

A couple of observations need mention. Niraval is the acme of manodharma, and a concert of this nature has scope for and merits at least two explorations. Moreover, compositions by Annamacharya and Arunachala Kavi would have enriched the canvas further. The latter’s ‘Rama Nataka Keerthanas’ offer a near-complete musical Ramayana. Oothukadu Venkata Kavi, too, has several kritis on Rama to his credit.

The concluding section comprised ‘Rama mantrava japiso’ in Jonpuri by Purandara Dasar, ‘Vaidehi sahitam’ a Dhyana sloka for the Ramayana, sung in Sahana, Shanmukhapriya and Manirangu, followed by Dikshitar’s coronation kriti ‘Mamava pattabhirama’, and Tyagaraja’s ‘Ramachandra nee daya’ in Surutti.



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