logo
Vijay Sethupathi, Nithya Menen promise a heartwarming family entertainer with ‘Sir Madam'

Vijay Sethupathi, Nithya Menen promise a heartwarming family entertainer with ‘Sir Madam'

Hans India3 days ago
After a successful run in Tamil, Vijay Sethupathi and Nithya Menen's rom-com family drama Sir Madam is all set for its Telugu release on August 1. Directed by Pandiraj and produced by Sendhil and Arjun Thyagarajan under Sathya Jyothi Films, the film is promoted as "A Rugged Love Story".
At a press meet in Hyderabad, Vijay Sethupathi expressed confidence in the Telugu version, saying, 'This story is universally relatable. I even learned how to make parathas for my role. Working with Nithya was a joy, and we had a great family-like atmosphere on set.'
Nithya Menen, who dubbed for herself in Telugu, shared, 'It's been a while since I did a Telugu film, and I'm thrilled to return with this one. It's a heartwarming story, not just about a couple but about family. The Telugu audience will definitely connect with it.'
Director Pandiraj described the film as a blend of love, comedy, action, and family emotions, praising the lead actors for their performances. Director Nandini Reddy called it 'a home-food kind of film' with immense repeat value.
Cinematographer Sukumar, lyricist Rambabu Gosala, and NVR Cinemas' Suresh also expressed their excitement, highlighting the universal appeal and family-friendly nature of the movie.
Producer Thyagarajan added, 'The film has already achieved success in Tamil, and we are confident of receiving the same love from Telugu audiences.' Sir Madam aims to deliver heartfelt entertainment to families this August.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

AR Rahman meets his idol K.J. Yesudas in Dallas amid U.S. tour and new projects
AR Rahman meets his idol K.J. Yesudas in Dallas amid U.S. tour and new projects

Time of India

time16 minutes ago

  • Time of India

AR Rahman meets his idol K.J. Yesudas in Dallas amid U.S. tour and new projects

A.R. Rahman , who is revered as the vocal king of the Indian music industry, is currently composing music for films in various languages, including Tamil, Telugu, and Hindi. His notable Tamil films include 'Genie' starring Ravi Mohan alongside debutant director Arjunan, 'Moonwalk' starring Prabhu Deva, and 'Killer' starring S.J. Suryah. In addition, it has been officially announced that AR Rahman will be composing music for the new film starring Dhanush and Mari Selvaraj. Here's a closer look. Meets Sam Altman in U.S. for ' Secret Mountain ' talk Meanwhile, Rahman is currently performing a musical tour abroad, and he recently completed a tour across the United States. After those events, AR Rahman, who is in the United States, met with Sam Altman, CEO of a popular AI chain, and discussed the project he is working on called 'Secret Mountain'. Next, his meeting with singer K.J. Yesudas , a prominent voice in the Tamil-Malayalam music world, was met with great acclaim. AR Rahman calls K.J. Yesudas his childhood favourite AR Rahman wrote on his social media page, 'Met my childhood favourite at his place at #dallas #yesudas …amazed at his research work and love for Indian classical (Carnatic) music !!" and shared his latest click with the veteran singer. This meeting also marked an emotional moment in his musical journey. At 85, Yesudas still shines with 50,000+ songs Yesudas, who is still entertaining fans happily at the age of 85, has sung more than 50,000 songs in the world of Indian music in languages including Tamil, Malayalam, and Kannada. His divine and devotional songs are deeply engraved in the minds of the people and are listened to daily by many to this day. Apart from being a singer, he has also been a music composer and actor in some films.

‘Vaathi' wins big: A.R. Rahman congratulates nephew G.V. Prakash on second National Award win
‘Vaathi' wins big: A.R. Rahman congratulates nephew G.V. Prakash on second National Award win

Time of India

time35 minutes ago

  • Time of India

‘Vaathi' wins big: A.R. Rahman congratulates nephew G.V. Prakash on second National Award win

G.V. Prakash has once again solidified his position in the music world, drawing widespread acclaim from the film industry following the recent National Award announcements. Luminaries like A.R. Rahman and Sudha Kongara were among those who lauded his hard work and talent. Here's a look at their reactions and G.V. Prakash's own heartfelt response to his latest achievement. Here's a closer look at how A.R. Rahman lauded G.V. Prakash on his win A.R. Rahman congratulates nephew G.V Prakash on his second National Award win Oscar-winning composer A.R. Rahman congratulated his nephew and music director G.V. Prakash for winning his second National Award. Prakash received the award for Best Music Direction (Songs) for the Tamil-Telugu bilingual film 'Vaathi'. Soon after the winners of the 71st National Film Awards were announced, G.V. Prakash shared his happiness on social media, calling it "a blessing for the second time". Rahman, who is also Prakash's uncle and former mentor, replied to his post on X (formerly Twitter), saying, 'Wishing you many more… Congratulations.' Prakash, in return, thanked him and called him 'sir' as a mark of respect, which he continues to use despite being related, since he once worked under Rahman. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Historic Figures Who Were Actually Photographed Gloriousa Undo Director Sudha Kongara, who gave Prakash his first National Award opportunity in 'Soorarai Pottru', also congratulated him. She posted a picture with him on Instagram and wrote, 'Looooooong due my bestie buddy brother. So so awesome. Congratulations! And my fav fav fav song of yours too!!!' G.V. Prakash expresses deep gratitude In his official statement, G.V. Prakash expressed deep gratitude and called the award 'a blessing for the second time.' He thanked the jury and the team of 'Vaathi', and gave a special mention to actor Dhanush , who starred in the film. "Special thanks to my brother Dhanush, who chose me for this film. Our continuous collaboration-from Polladhavan to Asuran, Vaathi, and Idly Kadai-has been creatively fulfilling and rewarding for both of us. A big thank you to my director Venky Atluri, who inspired me to give my best and trusted me with the music for this film." he said. He also thanked director Venky Atluri, calling him a constant source of support and motivation. "From Vaathi to Lucky Bhaskar, and now onto our next project- thank you, Venky, for the consistent trust and for bringing blockbuster moments into our journey. Thanks to our producers, Nagavamsi and Trivikram, for believing in me and giving me this opportunity' he said. He ended his note by thanking his family, team of musicians, lyricists, technicians, friends, producers, and fans who stood by him and believed in his music.

‘Tamil: The Best Stories of Our Times': Tamil modernity, a field of tensions between past and future
‘Tamil: The Best Stories of Our Times': Tamil modernity, a field of tensions between past and future

Scroll.in

time38 minutes ago

  • Scroll.in

‘Tamil: The Best Stories of Our Times': Tamil modernity, a field of tensions between past and future

In Tamil: The Best Stories of Our Times, editor and scholar Perundevi brings together 22 short stories by some of the most acclaimed voices in contemporary Tamil literature, including Jeyamohan, Perumal Murugan, Salma, and Imayam. The stories carry the sediment of caste, class, gender, and postcolonial legacies in their syntax, their silences, and their small rebellions. The editor's introduction traces the Tamil short story's genealogy from its Manikodi-era roots in the 1930s to the hyper-realistic, genre-bending work of the present day. She invokes Pudumaippithan's idea of suchumangal – the 'subtler aspects of life' –and sets the tone for the stories to follow. What I've always liked about Tamil fiction is how they're not outright wrapped in moral clarity and, instead, find their meaning in the more minor contradictions of society, family, and life. They refuse to be indulgent character studies and instead are very matter-of-fact in asking the numerous, seemingly heavy-handed questions they do. How does a woman's worth become entangled in her womb? How is a tailor's pride interwoven with a worn-down sewing machine? More importantly, they all seem to ask the same question of how identity – ethnic, religious, and gendered – splinters in the echo chamber of diaspora and memory. Confronting social forces The variety of narratives that Perundevi has chosen reflects the editor's disinterest in sticking to only one particular undertone within a social subject. It's not just a woman's distress; it's also class and caste that come into play. Many of these stories confront large social forces – patriarchy, religious orthodoxy, and neoliberalism. But they're not overly didactic, and they couldn't afford to be, since they stirred up masses and had a significant impact on readers. A favourite of mine was JP Sanakya's 'The Rules of the Game' in Janani Kannan's translation. Its opening is visceral, and plays out as a scene from a film: a woman, pregnant from gang rape, becomes a figure of familial shame rather than sympathy. What the editor also comments on, in the introduction, is that the story refuses to follow the traditional victim arc and instead overturns the trope on its head with the protagonist quietly resolving to shove her elbows to crawl from her own societal, protective bubble. However, we see the trope handled in a sensitive way in Imayam's 'Heartbreak', also translated by Kannan, with the protagonist constantly giving the benefit of the doubt to her husband when he starts misbehaving with her after their time together as a married couple violently progresses ahead without a child. Another quietly explosive story is Devibharathi's 'The Tool of His Trade', translated by N Kalyan Raman, which is very similar to the Marathi film Lathe Joshi, directed by Mangesh Joshi. Like Joshi, the protagonist here is rendered obsolete by changing times. His tailoring tool is not just a physical object; it is the crux of his dignity, his history, and his self-worth. The story echoes a broader theme whose vein runs through the anthology, along with others: how technological, social, and political changes subtly displace the working class, often without offering anything to replace what is lost. What I also appreciated about the collection is how the stories balance realism with allegory, even magic realism, without losing political urgency. In Keeranur Jakirraja's 'The Saga of Butchery', translated by Raman) a man sacrifices a camel on Bakr-Id to stand out, only to be haunted – literally – by its severed head. 'Hussain knew that the weapon of last resort was always money and that it had no substitute,' the narrator remarks, a line that captures the tragic comedy of class aspiration. The translator effectively brings out the stink of camel meat, which, quite poetically, could be taken to reflect the stink of class aspirations that haunt the protagonist, much like the camel. The writer merges the grotesque with the satirical and gives us a story about masculine pride and performance (or performance pressure) in the face of 'giving your word' to society. Elsewhere, magic realism turns poetic. In Perumal Murugan's 'The Blouse', translated by Raman, an elderly village woman refuses to wear a blouse at her son's wedding, despite her family's attempts to civilise her into 'respectability.' The moment she relents, a blouse-induced cyst grows under her armpit 'as big as a newborn's head.' 'She imagined the blouse as a hacksaw that would cut off all the fingers of her daily activities,' Murugan writes. Like 'The Saga of Butchery', several stories examine the fragility of male identity within modern structures of power. In Aravindan's 'Screening', translated by Yashasvi Arunkumar, a man's polite, self-effacing demeanour hides an internal crisis that erupts when he voices a desire considered too crude for public discussion. 'Whether it was anger or desire, he had long learnt to lock it away inside himself. After so many years of such discipline, what kind of disgrace was this?' the protagonist wonders. The story unfolds like a psychological thriller, using silence and suggestion to critique a social order that rewards restraint but punishes emotional honesty. The eyes of the beholder At their heart, many of these stories return to questions of how we are seen and how that gaze reshapes the self. Latha's 'Cheenalatchumi's Queue', translated by Kannan, is set in Singapore, and reclaims diasporic Tamil womanhood from both Western racial hierarchies and intra-community casteism. The protagonist rejects the derogatory name 'Cheena Latchumi' and insists on being seen on her own terms. The translations throughout the collection are on the whole excellent. Raman's translations stand out for their clarity and precision, while Kannan captures the inner rhythm of women's emotional landscapes with restraint and empathy. As a collective effort, I think the translations maintain fidelity to Tamil idioms and cadence without overwhelming the English narrative with excessive gloss. However, I would've liked a tiny glossary at the end to better understand the lesser-known Tamil terms. As somebody who is entirely unfamiliar with the language, some of the specific references were a little opaque to me, especially sensitive terms like yov. Finally, I'd like to add I find it refreshing that Preundevi's anthology does not aim to represent Tamil identity in any fixed or homogeneous way. Instead, it offers something more valuable: a recognition of Tamil modernity as a field of tensions between past and future, caste and class, men and women, language and silence. The anthology, like the literary tradition it emerges from, offers no easy resolutions.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store