Laxminarayan Vishwanathan There is a tendency to berate Bollywood movies among Indian viewers. This habit is probably what has currently kept this movie at 6/10 overall. This movie has no overacting, a very earthy local dialect, fast pace, slick editing, no black or white judgement and shows how completely unpredictable things are in the "War on Naxalism".Surprisingly, the film makes you feel for the Naxals even though the rampant real-world atrocities of various local, state and the Central Govts are not shown explicitly. I suppose either the director tried to get past the censor board or somehow got the idea that people would not like a pro-Naxal movie.However, the oppression of the people is quite clear through the realistic dialogue and hard-set expressions of the Naxal characters. You can see in their eyes, so to say, the ruthless cruelty and corruption of Govt officials that destroy rural India.There is nothing clichéd or expected, although the very end is a bit preachy but that frankly is the one solution that actually works in real life. So the film has got the preaching quite correct.If you think this is a regular action movie, you could never be further from the truth.In summary, a well-written, well-directed, well-acted realistic movie with a genuine message that tries to suggest a solution to the continuing war.To magnify any minor film-making related flaws and pass over the overall message and near-factual method of presentation, is to miss the whole point of this movie.A must-watch for every educated person who has an interest in sociology, history, India, poverty, economic warfare, governance, communism, corruption, abuse of power, or just plain realistic movies.

bobbysing It is often argued that there is no so called artistic kind of cinema in existence and every movie should be treated with the same yardstick, whose sole purpose is to simply entertain its audience. But whatever may be said, the difference does exists and it's quite visible, mainly in the eyes of the viewers. However, to avoid any further arguments, we can simply segregate cinema into two parts wherein one deals with the mainstream commercial movies supported by the big stars and the other which deals with a more realistic kind of meaningful cinema having a limited appeal in the name of entertainment. The second category is undoubtedly treated in a not so good manner by both the mass audience and the main exhibitors or distributors. And that's the reason RED ALERT finds less screens, less shows and even less footfall in the theater in comparison to the other commercial releases on the same Friday. But if you are a huge fan of realistic cinema, talking about some relevant issues prevalent in our present society then RED ALERT might be the much desired food for your thought.To start with, RED ALERT is not for the people who are just interested in buying the ticket to have some good time in the theater with their friends or lovers. It is for all those thinking minds who can well understand and appreciate meaningful, realistic cinema. The movie revolves around the present Naxalite Movement in the country and showcases how the innocent people of the rural areas get involved in the movement unwillingly. It's based on the story of a poor food supplier who when visiting the jungle to supply food, finds himself in the middle of a police encounter and then is forced to live with the Naxalites for many months as their team member.Without revealing the main storyline of the film, I would like to mention three strong surprises or merits in the movie, which altogether make it a worth watching commendable effort from the team.The first pleasant surprise is its director Ananth Mahadevan, who comes up with his best product till date, which is in extreme contrast with his entire body of work of his career. Rising above all his previous inspired mystery movies, this time the director emerges as a winner with an original concept and a great attempt. Along with his writer Aruna Raje, Ananth delivers a partly powerful movie which is both thought provoking and exciting together. His execution of all the major sequences in the movie is quite impactful, which in fact forces us to believe that the director truly has rediscovered something in himself secretly. It really looks like a different Ananth Mahadevan behind the shots unbelievably.The second unexpected merit of the movie is Suniel Shettyplaying the central character of the movie who is forced to become a naxalite. Walking on the similar lines of his director, Suniel's innocent portrayal of a poor food supplier is also in complete contrast with whatever he has done in his famous career till date. The tough suited Anna of the past transforms into a dhoti clad so easily and impresses. The loud shouts get converted into cowardly whispers and the angry eyes start asking for mercy and sympathy in this new Avatar of Anna. If you really loved Suniel Shetty in all his fiery action and funny comedy movies then you got to see this to believe the huge transformation made possible by the talented actor. In short, he is simply amazing.Coming to its third merit, RED ALERT has some superb supporting performances by Sameera Reddy, Seema Biswas and Vinod Khanna. Sameera, without her glossy makeup shocks you with her brilliant act of a rape victim. She proves that she has got immense talent inside her yet to be explored. Seema Biswas is great as usual. Vinod Khanna shines brightly in his small but important role. Naseeruddin Shah, though is good but including him for only one scene was quite questionable. Zakir Hussain as the Minister is superb and so is Bhagyashree playing Suniel's helpless wife. Gulshan Grover and Makrand Deshpande both play it very calmly and effectively. Ashish Vidyarthi is OK but his role lacked any kind of novelty as such.The movie mainly finds its grip over the viewers in its second half, when the things start moving at a brisk pace equally supported by its apt background music and terrific Cinematography. Especially watch out for the sequence where the naxalites attack a running school and yet try to save the children from the two way firing.But the movie has its own share of flaws too which restricts it to be called as a true masterpiece. For instance, if a Police Officer is living with the naxalites under cover, then why on earth will he keep his Police I-Card in his own pocket or baggage? However the biggest drawback remains its climax, which somehow fails to pass on the exact message on to the audience. The final sequence involving the changed Vinod Khanna, talking about his new mind-set and vision should have been more direct and impactful.All together, after watching it you strongly feel that you have seen something good and something relevant. But you don't take that message along with you to your homes due to the weak concluding moments of the movie. In other words, the film is a very controlled take on the burning issue of the Naxalite movement. Still it's indeed an applaudable effort from its director Ananth Mahadevan and should must be seen if you can seriously appreciate realistic kind of cinema. It's not entertainment, alright ……but it's certainly meaningful entertainment made for a cause, which needs to be given a chance once in a while.

sammy I decided to go for Red Alert :The War Within instead of I hate Love stories for obvious reasons. I still say I made the right choice. If Red Alert virtually choked me to death I Hate would have gagged the optimist in me.And the death of optimism is surely a greater loss than the on screen demise of an ordinary moviegoer like me.To begin with , Red Alert fails to clearly bring forth any sound and credible hypothesis regarding the origin and continuance of the Naxal menace. In fact the only true and digestible piece comes right in the beginning of the film when the captioned para describes the origin of this problem.Everything has been downplayed and under -treated to such an extent that one can't help questioning as to why was the movie made if so many aspects were to be to be left veiled . The justification of the Naxalite movement, The role of the Government, the Police and it's role.All these facets were blatantly ill-treated by the Director. Needless to say the Director favored the anti-Government Naxalites during the first half, taking the plea of underdevelopment and poverty as the trigger for the upsurge. And predictably the Director tried to sabotage the picture perfect image of the revolutionaries by injecting small doses of realism. Sadly though, he failed in both cases.The story had many loose ends and tragically there were even more knotted ones. The cast wasn't great either. Sunil Shetty does remarkably well given his acting credentials, but the plot deserved more method. Sameera Reddy seems to have imbibed a few traits from Abhishek Bachchan and John Abraham regarding acting. I mean monotone expression for all occasions.The only decent and quite enjoyable performance was rendered by the guy who plays the Home Minister and also to some extent by Markand Deshpande as the wily reporter.In totality however the movie was pathetic. I mean consider this. A police man working undercover in a Naxalite group is foolish enough to have a photo ID card in his belongings kept right above his private things for everybody to discover. Or may be Bhagyashree as the hapless wife of a helpless victim. Or perhaps the foreign delegation which featured a fellow ho up till quite recently was trying to prove how good a particular English speaking software was (English Guru).No punches in the screenplay. A stale emotional environment. Nothing new to show and no new way of showing it. The movie was a big let down.

jmathur_swayamprabha Last month, we saw Raavan by Mani Ratnam in which the character in the title role was (perhaps) a naxlite. However that movie was neither realistic nor very impressive. The last good movie upon this ever burning issue of rural India was Lal Salaam (2002) starring Nandita Das and Sharad Kapoor. Now after eight long years, a movie has come upon this topic which is truly a movie with a soul. This highly admirable movie is miles ahead of the over-hyped hollow movies like Raajneeti and Raavan.The story revolves around a poor tiffin-supplier in rural Andhra Pradesh, Narsimha (Suneel Shetty) who just wants to earn some additional bucks to support his family consisting of his wife Uma (Bhagyashree) and two children. However destiny drags him into the naxlite group led by Velu Anna (Aashish Vidyarthi), the mastermind behind the group being Krishnaraj (Vinod Khanna). Despite playing an active role in their adventures, he is never with them by heart. Being always concerned for the welfare of not only his own family but also hundreds of innocents being killed, he ultimately succeeds in redeeming himself of the shackles of the naxlite activities but not without the wounds leaving permanent scars on his tender and sensitive heart.Director Anant Mahadevan has given us many third class movies during the past few years. Now, after a long wait, he has come up with an outstanding movie. It is said that behind every successful man, there is a woman. The woman behind this success of his is Aruna Raje, inarguably one of the most talented lady directors of Indian cinema. She has written a highly sensitive and utterly realistic script which Anant has ably directed. The grip of the narrative upon the viewer is nowhere loosened. The viewer just keeps on watching for around two hours, holding his breath. This movie is nothing less than an edge of the seat thriller.The narrator has presented the side of both the conflicting groups, that is, the government and the naxlites, quite honestly, impartially and frankly. He has presented a very pertinent question though the hunger and the injustice lead the poor villagers to take the path of bullet and they are correct in their own right, yet what's the use of winning the battles and losing the war. Yes, there is difference between terrorism and revolution but should this revolution be allowed to last for decades and centuries without any hope of the ultimate victory ? The first pre-requisite of a worthwhile and well-justified revolution is the clear-cut aim behind it. When the aim itself is not clear, just running a parallel government type organization in the name of revolution is nothing but deceiving yourself and others who have faith in you.The narrator has exposed the hypocrisy of the self-acclaimed revolutionary leaders too, always talking big and preaching ideals but totally indifferent, selfish and inhuman when dealing with the individuals working for them. The attitude of Aashish Vidyarthi towards Suneel Shetty reflects the huge difference between what these so-called revolutionary leaders publicise as their deeds and what they actually do.Like Priyamani was shown as raped by the policemen in the police station in Raavan, Sameera Reddy has been shown as raped by the same uniformed people in the same venue in this movie. And this is the bitter truth of rural (even urban) India which again forces me to think why the Indian police stations are rape stations ? What is this strange trait of the police or military uniform which arouses the beast in the wearing male, turning him into the predator, ever ready to pounce upon its poor prey, that is, the female ? Any answers ? Many scenes of this movie are reminiscent of Maachis (1996), the controversial movie of Gulzar. I had a very strong feeling of deja vu when I saw one of the main characters of Maachis, Suneel Sinha in a similar role and even with the ditto get-up in this movie.The performances are all up to the mark though the screenplay has not done justice to certain actors like Nasiruddin Shah, Gulshan Grover and Bhagyashree.Whatever might have been theopinion of the viewers (and reviewers) about Suneel Shetty, I have always kept him in high esteem as an actor since J.P. Dutta's Border (1997). This is his career best performance and he deserves an award.He is so natural that throughout the movie I was feeling as I were him, the protagonist, running for his life and concerned every moment for the welfare of his wife and children and sensitive towards the life and well-being of every innocent, willingly or unwillingly involved in this avoidable havoc.Among others, I specially mention Sameera Reddy who has demonstrated that she can act brilliantly when handled by an able director in a strong role.The background score, the cinematography, the editing and other relevant aspects are all up to the standards. The story (based upon a true story) has been picturized in the backdrop of Andhra Pradesh and the writer-director duo have exasperated the contemporary Andhrite environment in the movie quite efficiently.This movie is just superb and gives a priceless message in the end in the words of Omar Bin Laden (given by him to his father, Osama Bin Laden) - find another way (other than violence). It must be existing. The only thing you need is to admit its existence and then look for it.