Rani and Appanna get married, but their first night does not go well, when Rani is frightened by Appanna's advances, and when they return to his village, he goes back to his mistress. (For a long time, this video, titled 'Sexiest scene ever-prakashraj enjoying vanitu vasu to the core' was the only evidence of the film I could find on youtube. It is fairly sexy, but did not feature any snakes.) Appanna locks Rani in the house, but she is still able to talk to the blind woman through the window, who offers her a love potion. Rani cooks the potion in her husband's milk, but burns it/chickens out at the last minute and pours it out on the anthill near the house.
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Living in the anthill is the Naga, snake king, who drinks the milk and becomes infatuated with Rani. I thought it was interesting that the Naga was motivated by love, rather than revenge, and was essentially 'tricked' by human action. At night he slithers in through the window and onto Rani's bed. I like how 'slithery' Prakash Raj's body language is in this scene.
When Appanna comes home the next morning, he realizes that Rani has been sleeping with someone, yet seems really happy too see him. Appanna has a watchman guard the entrance to the house, but when the watchman tries to break in on the lovers, the Naga goes out, turns into a snake and kills him. The next night Appanna and his friends try to flush out the snake, who slithers back into the house, where Rani nurses his injuries. Appanna hasn't figured out that the snake that killed the watchman and the guy with his wife are the same. Rani still doesn't know that he's a snake, but she does know that she's pregnant and tells the Naga. Word gets back to Appanna that his wife is pregnant, and he drags her out in front of the village council to accuse her of adultery. She sticks her hand in the snake burrow, holds up the Naga, and swears that she has never touched any male other than her husband and the snake in the burrow.
More thoughts: My main takeaway from the film is that now I really want to read (and see) the play, especially since so few Indian films are adapted from books or plays.according to this article the lamps are actually just one of four layers of narrative structure, and the play includes some ongoing dialogue between the 'playwright', the lamps, and a female storyteller.another article that I read, talks about female agency in the play. I'm intrigued about whether Rani really has agency, since she seems to think that she's with her husband the whole time. In other takes on a similar theme ( Paheli, Le Retour de Martin Guerre), if I recall correctly, there was at least one scene where it was implied that the wife knew about, and was choosing the imposter husband.A search for Nagamandala turns up several hits for recent productions in the US ( and ) The most recent was the University of Southern California Theater School, which may have been in conjunction with Girish Karnad receiving an honorary doctorate.I'd love to see how they stage the love scenes in the play.
In the film, they were pretty sensual and explicit (This month I've seen at least three films with Prakash Raj in a lover role, and this one is by far his sexiest role, what with romancing two women.) -I'd also love to see how they do the snake in the play. The film had some top notch snake wrangling, and the snakes looked good, were pretty active and were used in a lot of different settings as the Naga changed forms. @Sastha Prakash That's so interesting about the snake grove. I'm fascinated by the ways that Indian cobras seem to be semi-domesticated. Would love to see the festivals first-hand someday. @Anonymous- alas, there were no snake dances in this film. Most of the dances are Vijayalakshmi dancing in the house, forest, etc or there are songs which are the background for the love scenes.
It's sort of a shame that there isn't a snake dance, because Prakash Raj can dance. Outside of being totally intrigued by the idea of Prakash Sexy in a movie, I am amazed at how identical the second part of this film is with Deepa Mehta's Videsh (or Heaven on Earth), down to the smallest details. I thoroughly dislike Deepa Mehta's films, and hated many things about that particular movie but I did really enjoy the mythical side (basically the whole snake story part of it). Thank you for showing me it wasn't actually her that came up with it, that way I can continue to appreciate that side of the story without being unfaithful to my hate for DM:P This sounds like a good one to watch. Unlike my Punnami Nagu (with Mumaith Khan) which I was going to review for Nag Panchami FF but deemed it so bad that I cannot inflict it upon others.:(.
@Dolce and Namak: I didn't realize that there was another film adaptation of this story, now I'll definitely check out Videsh. It's so interesting to me how different authors/directors frame the traditional tale. It's true that Punnami Naagu w/Mumaith probably doesn't merit a full post, but perhaps a few pictures of your favorite Mumaith moments?
@Ness:I know, Prakash Sexy is quite impressive, especially when you consider how rare love scenes were/are. @Beth- for all of the great films of the 1970's, it does seem to be a dry period for masala snake films. (Also, do watch the Girish Karnad interview, he's pretty awesome.).
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