The most lionized director Neelakanta, who rules the Southern films, is planning to make his directorial introduction in Bollywood. His late Telugu film, Maaya is going to be revamped in Hindi as Murder 4. An obviously energized Neelakanta says, it’s a blessing from heaven for me as he has been wishing to make a film in Hindi for a few years now. Also, it’s a respect that a chief of Mahesh Bhatt’s stature is going to be present in the film. Murder was a much hit film and it received great praises from both the audience and the critics also. Neelkanta previously received many accolades from the critics. His is quite a genius in this field of cinema.
It is clearly stated that, the film’s script will be revamped upon to suit the sensibilities of the Hindi crowd and the film may go on sets inside a brief time. The director quoted that at this moment, he is chipping away at the script for the Hindi rendition and once he will conclude the cast, he start shooting the film. He has also announced that within the next few months he will start his venture.
Neelkanta was asked what was Mahesh Bhatt’s response was not long after he saw Maaya, Neelakanta reviews, ‘He preferred the film monstrously and felt that it’s got the right substance to speak to the Hindi gathering of people. Actually, there was no exchange about who’s going to steer the film. Neelakanta constantly needed to make movies which have a striking harmony in the middle of Art and Commerce. He got two national awards, one for the Best Screenplay and the other for the Best Feature Film in Telugu for “Show” while state Nandi Award in the screenplay division for the later.
He additionally composed the dialogs for a Telugu remake of the Hindi hit film A Wednesday, entitled Eeenadu. The Hindi film featured stars like Anupam Kher and Nasseudin Shah. In 2011 Neelakanta guided Virodhi emphasizing Meka Srikanth & Kamalinee Mukherjee. Neelakanta stowed the best dialog writer award in the year 2011 for this film. In 2013 he guided a film Chammak Challo which received huge fame both by the audience and the critics. The main scene of Maaya resembles a hint of something better over the horizon with some decent acting, and it ends up being simply the beginning of an arrangement of shocking scenes that truly hook into you right away. The idea is extraordinary; however the script and the bearing by Neelakanta make Maaya a greatly tormenting watch. There isn’t much to say in regards to this film, rather imbecilic and truly irritating with its credulous portrayal. Concerning guiding a super-common tension thriller, the key is to make a profoundly farfetched idea acceptable. Above all, the answers brought up in the screenplay must be persuading and advocated. Yet the second half is difficult to process and the turn at last, which was most likely intended to stun the group of onlookers, is altogether inept.