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A woman dances alone in her apartment to the cheese '80s classic “It Takes a Muscle to Fall in Love” by Spectral Display. Her son and daughter look at her swaying from behind her, amused as we all are when we catch people with their guards down. Their mother turns around to reveal running mascara and the expressions on the faces of her children change as well. In many ways, this early scene is what Sam de Jong ’s “Prince” is about—posturing and posing that hides something deeper. We are never at our more image-obsessed than in the hazy, horny, love-sick days of our teenage years, and while “Prince” feels a little slight when the credits roll less than 80 minutes after it begins, it’s still a strong, creative addition to the crowded coming-of-age genre.

Our troubled young man this time is named Ayoub (engaging newcomer Ayoub Elasri ). His mother is lonely, looking for love online but mostly failing. His half-sister is his most supportive ally, getting him more than the barely-men with whom he spends most of his time hanging out, looking at the common objects of teenage obsession—cars and girls. Ayoub’s dad is a junkie, seen almost entirely in an abandoned, emptied pool in which he shoots up and basically avoids Ayoub’s attempts at connection. At one point, Ayoub tells him, “ Dad, I’m in love ,” and he just laughs, knowing the trouble such a statement often leads to, and unable to really offer any cogent advice.

Ayoub is in love with a beautiful young woman named Laura (Sigrid ten Napel), who smiles at him and then tells her boyfriend about it. Laura’s boyfriend is one of the older, tougher guys on the other side of the street, and he doesn’t take too kindly to the young punk talking to his girl. Writer/director Sam de Jong crafts parallel groups. Ayoub and his friends are matched across the lot by what they might look like in ten years—another group of dude-bros with more tattoos, muscles, and the beginning of crow’s feet. It’s the same macho bullshit, tinged with more aggression and more failure. And Ayoub wants to nab Laura from its clutches before it’s too late.

At the same time, an even darker predator than Laura’s boyfriend lurks on the fringe of “Prince” in the form of a local gangster named Kalpa (internationally known rapper Freddy Tratlehner). He drives a flashy car and his name is spoken in hushed tones. He’s clearly crazy. Can he teach Ayoub how to stand up for himself? Can he be the father figure this young man so clearly needs but lacks?

The first act of “Prince” is stylish and creative. It is about the teen years of boredom and insecurity as much as anything. These kids who think they’re men hang around in what looks like constant sunshine, doing almost nothing but forming their identities in the process. De Jong and his team often shoot from unique angles, like knee-level, and sometimes even allow the characters to speak directly to the camera. This is the life of a teenager—stylized, exaggerated, but hollow. A synth-heavy score reminiscent of Cliff Martinez’s work on “ Drive ” gives the entire piece a unique flair.

As “Prince” gets more plot-heavy, especially in an emotional final act that the young actors can’t quite handle, it gets a bit less interesting. Some of the decisions made by Ayoub, especially after he realizes his sister has a boyfriend, feel forced. It’s hard to believe given its short running time, but “Prince” actually needed less plot. It’s the way that “Prince” captures those hazy, confused days of teenage life with its own direct style that works, not the manipulative twists of its narrative climax. Luckily, none of the missteps of “Prince” derail the piece entirely. Like the emotional minefields of adolescence, the characters quickly move on to the next beat, and when they walk into the future in the final scenes, I was surprised how much I enjoyed my time with Ayoub and his buddies. I wondered where life would take them from here. And that’s the sign of a good coming-of-age film—it captures how this phase is not an ending but just a new beginning. 

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Prince (2015)

Ayoub Elasri as Ayoub

Oussama Addi as Oussama

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Elsie de Brauw as Saskia

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Jorik Scholten as Franky

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Prince Reviews

Despite the sketch comedy-like polish and the many jokes that go nowhere, Prince is still very watchable.

Full Review | Oct 24, 2022

As hit-or-miss as the sketches can be, it’s these new interstitials that betray the show’s true aimlessness...

Full Review | Oct 21, 2022

Sivakarthikeyan's charm makes this silly, quirky comedy fun.

Even Sivakarthikeyan, who turns on the comic persona from his early films that made him a star, is only able to just about keep the film from sinking.

Full Review | Original Score: 2/5 | Oct 21, 2022

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Prince movie review: A partly effective spoof or a juvenile joke?

Prince is a mixed bag. For those who enjoy the grand comic set-up with momentary payoff, for those who have the patience to relate with such elaborate set up, it is an enjoyable entertainer.

Language: Tamil

Cast: Sivakarthikeyan, Maria Ryaboshapka, Sathyaraj

Director: Anudeep KV

Star rating: 2/5

After Sivakarthikeyan’s performance in Doctor , fans are left with high expectations. So when Prince was touted by the filmmakers to be a no-holds-barred comedy, many expected magic. This genre, in a way, is Sivakarthikeyan’s playing field. Yet, something went horribly wrong with Prince because the laughs were just not enough. From the very beginning, I had this sinking feeling with the dialogues as it did not land in many occasions. The film itself is a romantic comedy about a young Tamil man falling in love with a British girl settled in India. His father is a communist who pushes his children to marry out of caste, but he is also a nationalist who has a special place in his heart just to hate on the newer generations of Britishers for the sins of their ancestors.

So, Prince attempts to dig deeper by drawing in the ill feelings that certain sections of Indians have towards a country and the country persons that enslaved them. Can something as sensitive and serious as reparation for enslavement and racism really be used as fodder for something that is shallow from the very outset? It is only much later that the film sets itself up as a spoof. Especially the confrontation between Anbu and his father about his love for an English girl hints at the direction that the film wants to take. When Jessica says, “We gave you the railways, education…” and ends it by saying, “We even gave you freedom,” it strikes a nerve. This is the stand that white supremacists and people with saviour complex have repeatedly said when asked about reparation for the actions of their ancestors. A similar belief is also held by a huge section of upper caste community in India. They believe that they liberated the Dalit and Adivasi community from being ‘uncouth’, ‘uncivilized’, and ‘uncultured’. So they try to erase the oppression. However, the potential of this scene is visible only fleetingly. The comic expression on Sathyaraj ’s face is the only evidence of this potential.

This flaw in the screenplay sabotages the film to a great extent. So, the jokes that were promised in the film is juvenile and the payoff for any comedic set-up is too late too little. Take, for instance, the moment when the white girlfriend wants to buy bottle gourd! The fact that Anbu, the hero of this tale doesn’t know that Sorakkai is bottle gourd is the beginning of a joke that is too long, with a short payoff. We understand that the male ego doesn’t let this young man accept that he doesn’t know something that his crush does. He continues to pretend as if he knows what she is talking about. What really is hilarious is that Anbu finds a vegetable seller who wants to continue a facade with his own wife as well. He apparently impressed her with his English while courting her. The amount of world-building that goes into this sketch, even if half of it had been put into building Jessica as a person, or Anbu’s family, the film would have been better of for it.

Instead, it goes round and round in stressing how Anbu has betrayed his village by failing in love with an English girl. It is hilarious how Anbu’s father (Sathyaraj) was accepting of their relationship when he had believed that she was French. A quick note on Indian history and the European forces that occupied the nation at different times, La Compagnie française des Indes Orientales (French East India Company) set up an outpost in Pondicherry — now Puducherry. It is at this point that I began to see the film as a spoof. One that is a commentary on everything that the society today is most obsessed with. From K-drama, and reparation to hypernationalism, the film broaches it all, but ineffectively because of the earlier stated flaw in screenplay.

The huge holes in the screenplay is fixed momentarily with juvenile jokes. Prince would have done much better had it stuck by its conviction to make the dark jokes about society stick. Instead, the flimsy nature of commentary within the film makes the attempt nothing but laughable. Anbu and Jessica’s love story is not something to root for because all we see of their relationship is song and dance moments. It is so shallow that his own friends end up believing that he is dating her to settle down abroad. Another self-deprecating joke here, I am sure.

This is probably one of the few moments that I did truly enjoy because it feels as if the filmmaker made a self-aware comment regarding how much of Anbu’s intention we were allowed to see. These are thoughts, that one would really begin to form at the end of the film, because at the beginning, all of it seems disconnected and distorted. From a simple tale of a social science teacher falling in love with an English teacher, the film tries to build many layers. However, not one of them is portrayed with clarity. Even the dad jokes in the film come off as juvenile, but not juvenile enough to be enjoyed. It occupies this weird space in the joke world where the lines just travel above your head and flats flat on its face.

So Prince is a mixed bag. For those who enjoy the grand comic set-up with momentary payoff, for those who have the patience to relate with such elaborate set up, it is an enjoyable entertainer. Otherwise, it is a missed opportunity.

Prince is playing in cinemas

Priyanka Sundar is a film journalist who covers films and series of different languages with special focus on identity and gender politics.

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Prince movie review: Sivakarthikeyan's charm makes this silly, quirky comedy fun

Prince movie review: sivakarthikeyan's charm and his chemistry with sathyaraj elevate this quirky but silly comedy to a fun watch..

Sivakarthikeyan ’s Prince could be described as an experimental comedy film. I use the word experimental because it isn’t wholesomely entertaining as some of his other films but at the same time it works as a quirky attempt at bringing forth a different style of humour. You could even call it silly humour, which worked beautifully in Anudeep’s last film, Jathi Ratnalu. In Prince, too, it works to a large extent and that’s what makes the comedy refreshing, if not wildly entertaining. The film works when you don’t take it seriously. Also read: Don review: Sivakarthikeyan’s film is a predictable but likeable coming-of-age drama

The plot is simple. It’s about a Tamil boy (Sivakarthikeyan plays Anbu) from a fictional village near Pondicherry falling in love with a British girl (Maria plays Jessica). Sathyaraj plays Anbu’s father (Ulaganathan) and he’s a staunch anti-casteist, who wants his son to marry outside their caste. When Anbu, a social science teacher, falls in love with his colleague Jessica (British), an English teacher, he hopes that his father would be proud of him to fall in love with someone from a different country altogether. Instead of extending his support for their love, Ulaganathan opposes the idea because his father was killed by the British during the independence struggle. Therefore, he doesn’t want someone from that country in his family.

The film relies a lot on quirky one-liners and wordplay. Anudeep’s style of comedy is not everyone’s cup of tea. If you loved what he did with Jathi Ratnalu, Prince won’t disappoint you. Even though the film is not consistently as funny as Jathi Ratnalu, the jokes do work wherever they’re used.

Nobody else but Sivakarthikeyan could’ve made Prince work to this extent. He holds the film together with his charming screen presence and his knack of doing comedy is unmatchable. Sathyaraj is equally good as the father and complements Sivakarthikeyan well in so many scenes. The chemistry between them really comes alive on the screen and it’s a treat to watch.

Prince, as the promos promised, ends up as a harmless romantic comedy. The comedy stretches work and generate ample laughs to keep you invested. The dull stretches do serve as a roadblock in an otherwise breezy story that touches upon the theme of fake nationalism.

Director: KV Anudeep

Cast: Sivakarthikeyan, Sathyaraj and Maria Riaboshapka

• Sivakarthikeyan

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Prince (2022)

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Prince Movie Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 5:15 pm, 21 October 2022 | Updated on 11:34 am, 26 October 2022

2 Hr 23 Min   |   Comedy   |   21-10-2022

Cast - Sivakarthikeyan, Maria Riaboshapka, Sathyaraj, and others

Director - Anudeep KV

Producer - Suniel Narang, D.SureshBabu, Puskur Ram Mohan Rao

Banner - Sree Venkateswara Cinemas LLP

Music - Thaman S

Jathi Ratnalu fame Anudeep is back with a quirky comedy. This time he collaborated with Siva Karthikeyan and made it on large scale in Telugu-Tamil as bilingual. Did Siva Karthikeyan and Anudeep recreate the magic of Jathi Ratnalu and Varun Doctor? Did the duo live upto the expectations? Let’s find out.

Anand (Siva Karthikeyan) works as a social teacher in a small town. He falls for British girl Jessica (Maria Ryaboshapaka) who is his colleague. Anand’s father (Sathyaraj), who is a broad natured, unable to accept Jessica owing to her British nationality since his grandfather was killed by British. Jessica’s father turns against her love for his own reasons. Meanwhile, Jessica’s family land in the town is wanted by local Bhupathi this invites big troubles and leads to disturbances in their love story. How does Anand resolves it and wins Jessica forms the crux of the story.

Performances

Siva Karthikeyan is game for comedy. He does it again effortlessly. He slips into the role of Anand which is likely by youth and also has good principles. His comic persona drives the film forward. Jessica is good in emotional scenes. Sathyaraj does an impactful performance in a soft role. He generates fun. All the cast plays their parts well. The film intentionally has more Tamil actors which may affect the Telugu nativity.

Technicalities

Anudeep picked a wafer-thin plot which itself is quirky and comical. But he added his trademark comedy to make it even more hilarious. Visuals are refreshing, credit goes to cinematographer Manoj Paramahamsa. Thaman, who is of late catering thumping background score and loud music, impresses with feel-good and soothing music.

Siva Karthikeyan Laugh Moments Dialogues & Music

Hero-Heroine Love Track Logics Goes For Toss

Audiences are still not out of pandemic fatigue which is why there is good scope for comedy films to work miraculously well at the ticket windows. Relying on the same, Anudeep, who is fresh from heat of Jathi Ratnalu success, attempted the similar feat. He is successful largely. He caters to fun-loving masses with irreverent humour. Siva Karthikeyan adds his touch to it.

Simply put, Prince is Jathi Ratnalu version 2.0 with different scale, set-up. It has all the elements to work. But the problem is it underscores on logics. The film delivers nonsensical laughs throughout. Siva Karthikeyan goes on delivering lengthy speeches reminding us of courtroom scene in Jathi Ratnalu. Yet, it worked. It keeps viewers in splits.

Kudos to Anudeep. Inanities all over the film. Even the supporting cast and side cast keep uttering inane lines generating fun. It is the humour quotient that keeps us invested in the film. The dominance of Tamil cast may affect the Telugu nativity and sensibilities. Dialogues deserve special mention as they bring cheer immediately. The makers rely on dialogue-humour. The hero-heroine love track needs more attention. It has no emotional connect.

Overall, the film has its moments. It only runs on laughs with no logics. Go for it if you want to keep your brains at home and enjoy the laugh ride in cinemas. It may not be another Jathi Ratnalu but Prince is Prince ( in Anudeep’s words).

Bottom line: All Laughs, No Logics!

Rating: 2.75/5

Tags Prince Movie Review Recommended Sivakarthikeyan Prince Movie Review

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'Prince' review: Laughter not guaranteed

Every dialogue in this movie that is intended to be funny is absurd and silly

Prince  is the love story of a school teacher who falls for a British girl, Jessica, (played by Maria Ryaboshapka) filled with comedy of errors. Anbu (Sivakarthikeyan) lives in a village, where everyone is simple and have an irreverent sense of humour, near Pondicherry. 

Prince  movie plot begins with Anbu’s voice-over, introducing his father Ulaganathan (Sathyaraj). The film starts off promising to be a laugh riot, but as it moves forward, every dialogue that is intended to be funny is absurd and silly. 

Once Anbu accompanies Jessica to a vegetable shop, run by a couple. At the shop, the wife of the vegetable vendor claims that she married him because she fell for his English. When Jessica asks for a bottle gourd, both the shop owner and Anbu do not know what it is. The two struggle to save their face. Then comes one Anbu's students who also doesn't know what bottle gourd is. The entire film is filled with such silly jokes.

And then there is Sathyaraj's Ulaganathan, the grandson of a freedom fighter. He is a man of principles, who wants his son to marry outside caste and religion, but not a Brit girl because his grandfather was killed by the British. He doesn’t have any role in his village but hoists the national flag on Independence Day and Republic Day. His son, a social science teacher, does not know about the World War, Hitler or Charlie Chaplin. It is his British girlfriend who introduces him to Chaplin.

The villain, Bhoopathy (played by Premgi Amaran), fails to impress. 

In the end,  Prince  talks about humanity and patriotism. But even here if you expect a story or a decent sequence to know what actually the story is, the director disappoints you.  Prince  director Anudeep, could have thought for a moment that Jathi Ratnalu could have done well in Tollywood, but he somehow chose to give the Kollywood audience a film without a story and a hero without any goals in his life. 

Sivakarthikeyan looks good as always, and the audience could not be faulted for expecting from him something like his earlier  Varuthapadatha Vaalibar Sangam  or  Namma Veetu Pillai . But the actor fails to deliver the laughs that  Prince  promised.

It is also time that popular actors like Sivakarthikeyan stops normalising stalking in films in the name of comedy. 

Prince cast: Siva Karthikeyan, Sathyaraj, Maria Ryaboshapka and Premgi Amaren. 

Prince director: Anudeep KV. 

Rating: 1/5

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Prince Review: Silly, But Funny

Movie: Prince Rating: 2.75/5 Banner: Sree Venkateswara Cinemas LLP Cast: Sivakarthikeyan, Maria Riaboshapka, Sathyaraj, and others Story: Anudeep KV & Mohan Sato Music: Thaman S Cinematography: Manoj Paramahamsa Editor: Praveen KL Producers: Suniel Narang, D.SureshBabu, Puskur Ram Mohan Rao Release Date: October 21, 2022

Ever since “Prince” was announced, the film generated hype as it marks the combination of Tamil rising star Sivakarthikeyan and “JathiRatnalu” fame Anudeep. The bilingual hit the theaters today in Telugu and Tamil simultaneously.

Let’s find out whether Anudeep generates laughs again.

Story: Anand (Sivakarthikeyan) works as a teacher in school. His father Vishwanatham (Sathyaraj, a retired employee, wants his children to marry outside their caste or religion.

Vishwanatham is overjoyed when he finds his son fell in love with a foreigner Jessica (Maria), an English teacher in his son’s school.

The only problem is that Vishwanatham hates British people and Jessica turns out to be a British woman.

How will Anand resolve this issue and get married to Jessica?

Artistes’ Performances: Sivakarthikeyan became a huge star in the Tamil film industry with a series of hits like “Doctor” and “Don” and he is good at comedy. The role of Anand is in his zone. He pulls it off so easily.

Ukrainian actress Maria Riaboshapka suits perfectly. Sathyaraj is a huge asset to this film. He takes the responsibility of the main comedian. The film doesn’t have separate comedians. The comedy parts are taken care of by Sivakarthikeyan and Sathyaraj.

Premgi Amaren as a land grabber is neat. The film has only Tamil actors.

Technical Excellence: Thaman has given a peppy soundtrack. Two songs stand out – “Jessica Chilaka” and “‘Bimbilikki Pilapi”. The visuals are bright and colorful.

The film has a short running time but it gives a feel of a lengthy film due to its flimsy plotline. 

Highlights: Anudeep’s mark dialogues The first half The climax comedy

Drawback: No emotional connect Repetitive jokes

Analysis Sathyaraj plays a character who boasts of himself as a very knowledgeable person. He tells his son’s girlfriend that he has mastery over the Telugu language. Around the same time, his son’s phone rings and the ring tone is “Lusku Tapa Lasku Tapa” song. She asks what that means. The funniness of this situation cannot be described in words. Only one would get it while watching. Then there is a five-minute comedy scene about “Bottle gourd” aka sorakaya. After this another worth mentioning scene is of the police station with Anand Raj and the friends of Shiva Karthikeyan. These are three sequences in “Prince" which make the audience laugh.  

Anudeep has a peculiar style of comedy writing. His situations look silly but they work well if the actors can pull them off. Sivakarthikeyan and Sathyaraj have done their best in many places.

The comedy written here is for an educated A center audience.  This cannot be relished by the C-center audience who doesn't know about bottle gourd and Cambridge. Such viewers may miss the taste in funny single liners. 

Moreover, nativity is totally missing in the film with Tamil actors all over. There should have been a mix of Telugu audience like in pan India style films. Had that been done, the range of the film would have gone to the next level. Barring that limitation, everything goes well. 

Anudeep ends his films well. In “Prince”, too, it ended on a funny note. All said, “Prince” is neither a laughing riot nor a boring watch. It lands somewhere in between. Like Anudeep’s previous movie, it is silly but offers some decent comedy portions.

Bottom line: Works in parts

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Tags: Prince Prince Movie Review Prince Review Prince Rating Prince Movie Rating Prince Telugu Movie Review

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Prince Review: Sivakarthikeyan, Anudeep's film is a HIT or FLOP? Read THIS before buying tickets

Prince Movie Review: Sivakarthikeyan's film, which opened in theatres on October 21 around Diwali, gets a thumbs up from social media users; here's what they have written

Sivakarthikeyan began his career as a stand-up comic and became well-known for his clever one-liners. Today, he is a bankable celebrity in the Tamil cinema business with several blockbuster movies to his credit. You anticipate on-screen explosions when a performer like Sivakarthikeyen teams together with slapstick-loving Telugu director Anudeep.

Anudeep's invented town is a humorous and carefree place in his universe. Everyone is innocent and simple-minded, and nothing is taken seriously. In summary, Anudeep provides us with just what we were hoping for.

Also Read:  Are Kiara Advani and Sidharth Malhotra planning to live-in together before marriage?

The plot of Prince centres on a teacher who develops feelings for a British colleague. The movie takes place in a made-up town close to the Cuddalore-Pondicherry region. This couple's romantic history comes up for debate, which sparks an intriguing narrative. The movie moves at a leisurely pace and exudes joy. Without making an effort, it succeeds in leaving a lasting impression and conveying some significance.

Also Read:  Black Adam review: Not Dwayne Johnson, DC fans cheering for THIS actor

Sivakarthikeyan, Maria Ryaboshapka, Sathyaraj, and Premgi Amaren are among the actors who appear in Prince. Anudeep KV directs the movie. The film's director of photography is Manoj Paramahamsa, while its editor is Praveen KL. The soundtrack for the film was written by Thaman S. 

Well, some moviegoers have already seen the film and praised it and called it a perfect entertainer. Check out Prince's review by netizens below 

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'Prince' review: A reasonably effective mindless comedy

Remember Mirchi Shiva’s intro scene in Thamizh Padam 2 where he goes on a monologue about many things random? Did it make you laugh? Or did it make you roll your eyes? If it worked for you, you are in for a ride with Prince, which is a marathon of such humour. Is it unfair to judge a film based on the efficiency of one element? Perhaps not, considering this is the main takeaway of this film.

The humour won’t come across as a shocker to those who have watched Anudeep’s debut Jathi Ratnalu. Be it the naivete in romance, the overenthusiastic body language, or even the floral print shirts, it is hard not to notice similarities between Sivakarthikeyan’s Anbu and Naveen Polisehetty’s Jogipet Srikanth. The plot of Prince is generic and predictable.

A Tamil boy from a family of British haters falls in love with a... Britisher! And naturally, a series of crazy events prevent them from getting together. Another film with a story like this--and an uninspiring screenplay--might have sunk without trace, but he tremendous focus on nonsensical humour keeps Prince afloat. The non-stop jokes, however, don’t always land as intended.

A number of attempts do fall flat but not so much that the good parts get affected. When Sathyaraj’s wife anxiously asks him, “Ungalukku enna dhaan venum?”, he replies, “Nee inga irundhu ponum!” Whenever the film shifts to this rhyme zone, the jokes fail. But a few minutes into the film, I became kinder, as the outlandish portions are brilliant.

A case in point is the whole sequence involving a bottle gourd. For ‘mokkai’ comedy to work, listeners must get used to context and the identity of the person cracking the jokes. This is why inside jokes among friends work, and why it feels absurd for outsiders. It also helps when celebrated stars (Sivakarthikeyan and Sathyaraj) who are known for their humour are cast.

I really doubt if Prince would have been as efficient if not for these two actors. But sadly, the same can’t be said about the rest. Even though Maria gets the lip-sync game almost right, her performance feels right out of a highschool drama. Premgi Amaren, in a non- Venkat Prabhu film, once again doesn’t work. As long as the gags keep coming, we remain distracted from the criminally underwritten screenplay and lacklustre staging. But the flaws become extremely glaring when the film focusses, for instance, on the romance.

ALSO READ | 'The success of Prince will foster more Tamil-Telugu collaborations': Sivakarthikeyan

The story is stagnant, and interesting angles— like Jessica (Maria) asking Anbu why he falls for her—are not explored well. Anudeep cleverly saves the best humour for the last act. The extended farewell speech of Anbu revives the film from a painful second act. Without giving away much, this last speech of Prince is absurdity in its most tasteful form.

The title Prince doesn’t bear much relevance to the actual film, except as a tribute to its star actor. Had Anudeep stuck to just mindless fun, without getting distracted by angles like the bland romance, this Prince might have won everyone’s heart.

Movie: Prince

Director: Anudeep KV

Cast: Sivakarthikeyan, Maria Riaboshapka, Sathyaraj

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Prince Preview - SWOT Analysis

Published date : 20/oct/2022.

** Click here for Prince Review **

After delivering two back-to-back box-office hits namely Doctor (2021) and Don (2022), actor Sivakarthikeyan is going in for the hat-trick with his upcoming release Prince . A quick SWOT analysis of the romantic comedy  that releases in theaters tomorrow (October 21, 2022)  follows:

• Writer, director Anudeep KV's last hit outing Jathi Ratnaalu had good humour and his follow up film Prince has Sivakarthikeyan and Sathyaraj - Kings of comic deliveries. This added with a family-friendly genre is the biggest strength of Prince . 
• Movies these days should have at least one viral song by thumb rule. Composer SS Thaman and Sivakarthikeyan with his incredible dance, have ensured it with the Jessica song from Prince . 
• Despite being a Diwali release, buzz surrounding Prince 's release seems overall average.   

Opportunities

• Prince 's Diwali release means it gets a four-day holiday opening. Good word of mouth could ensure big moolah at the box-office. 

Threats 

• Ticket prices this Diwali season start from Rs. 190 instead of Rs. 120 and they are expected to be priced as such in the first four opening days. This has already left a lot of movie-goers in Tamil Nadu  disgruntled . 
• Added to this, Prince  is opening against a spy action thriller titled Sardar  at the box-office. Mani Ratnam's Ponniyin Selvan: Part One still going strong in theaters and its movie tickets being available  for Rs. 120  isn't helping Prince 's cause either. 

Prince fdfs, plot, censor, runtime, OTT & other details here

Also Read: 5 Reasons to watch Prince

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‘A Prince’ Review: Let New Passions Bloom

Sex, death and domination fuel this beautifully enigmatic pastoral drama from France, which presents the gay coming-of-age of an apprentice gardener.

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By Beatrice Loayza

It’s not immediately apparent how courtly intrigue figures in “A Prince,” Pierre Creton’s spellbinding French pastoral drama, though sex, death and domination hang palpably in the film’s crisp, Normandy air.

Creton, a veteran director working at the margins of France’s film industry, looks to the divine powers and chivalric codes that fuel swords-and-shields epics like “Game of Thrones,” but whittles these elements down to a mysterious essence. A subtly medieval score — distinguished by the thrum of a lute and composed by Jozef van Wissem — draws out a surreal dimension. Eventually, the film shifts into explicitly sexual and mythological terrain with a B.D.S.M. edge, and the score keeps pace, taking on a folk metal vibe.

The story is slippery by design, loosely tracking the gay coming-of-age of an apprentice gardener, Pierre-Joseph, played for the most part by Antoine Pirotte. Creton, who also works as a gardener in real life, plays the older version of Pierre-Joseph, so “A Prince” also reads as an autofictional memory piece.

Throughout the film, a series of wordless and seductively austere tableaux, Pierre- Joseph forms bonds with various individuals in his rural community. Multiple narrators, including Françoise Lebrun (“ The Mother and the Whore ”), speak in retrospect, as if looking back from the afterlife at the characters onscreen. These connections are tangled: for instance, Lebrun voices Françoise Brown (played by Manon Schaap), the head of a horticulture school. Yet Lebrun also plays the onscreen version of Pierre-Joseph’s mother.

The effect may seem frustrating at first, but it ultimately feeds into the kind of alternative, communal lifestyle that the film showcases so beautifully.

Pierre-Joseph eventually comes to form a throuple with Alberto (Vincent Barré) and Adrien (Pierre Barray), his mentors. The naked bodies of these much older gentleman appear suggestively weathered next to their younger lover’s sprightly form. Yet there is no mention of taboo. That passion could bloom in such spontaneous and unexpected forms is part of this enigmatic film’s potency.

A Prince Not rated. In French, with subtitles. Running time: 1 hour 22 minutes. In theaters.

An earlier version of this review misidentified an instrument used in the score. It was a lute, not a mandolin.

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‘A Prince’ Review: A Literate Gay French Drama That Remains Much Too Oblique in the End

Pierre Creton’s dreamy experiment about the stories we tell others and ourselves remains more interesting as a concept than a finished film.

By Manuel Betancourt

Manuel Betancourt

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The world of Pierre Creton ’s “ A Prince ” is lush and verdant. His protagonist is a gardener’s apprentice whose penchant for taming and nurturing the wilderness around him is only matched by the latent eroticism he finds in various older men he comes to be involved with. Mostly driven by voiceover narration meant to ground and disorient you in equal measure, “A Prince” is a study in the stories we keep from one another and the ones we tell ourselves. Creton’s vision of unruly desires in the French countryside is literate and oblique perhaps to a fault, its erotic sensibility feeling more intellectual than visceral.

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That is certainly the case with Pierre-Joseph, who remains a cipher of a character throughout. In the scenes where he interacts with his classmates, his aging parent and later with his employer, Pirotte plays the young man like a wallflower whose shyness feels somewhat crippling. Yet his inner life, as captured by his voiceover narration, reveals a whole new layer to this seemingly quiet and unassuming young man.

“Sometimes I found my cousin there, and we made love,” he confesses when describing his father’s organized hunting trips, going on to share even more titillating details. Because of Pierre-Joseph’s narration, a seemingly innocuous moment shared between two men whose hands brush against one another as they sop up their bread on a shared plate, becomes weighted with desire. It’s in moments like those that Creton’s directorial choices most make sense, where it feels like he’s constantly excavating a not-so-hidden erotic sensibility.

Pierre-Joseph is drawn to older men, to their tender touch and their generous spirit. Soon, he develops a close-knit relationship with two of them, who in turn serve as fellow collaborators on a film about botany. Their quiet moments of intimacy blend in with their honest work in the fields and on their film together. Eventually, though, the film swerves into a final act where Pierre-Joseph will come face to face with Kutta. He’s heard plenty about the adopted child from abroad who is now an older man seemingly interested in hiring a gardener. Except as it soon becomes clear, this meeting will upend much of what we know about both men and even what we’ve come to expect about Creton’s oneiric if otherwise quite grounded drama.

Whether the one eyebrow raising shot Creton orchestrates in this final meeting merely shocks you or outright makes you wonder why this quiet if talky film needed to arrive at such an outlandish image is, arguably, what makes “A Prince” such a difficult project to break down. Beautifully shot and quite cleverly structured — not to mention quite naturalistic in its depiction of a pastoral world view (Schaap, who playes Françoise in the film, is a client of the filmmaker, whose garden Creton tends to) — “A Prince” demands to be experienced, to be enjoyed, for its shaggy narrative leaps and narrated morsels of insight to be nurtured not unlike the very horticulture which it so lovingly captures.

If it all doesn’t quite gel together in the end, one gets the feeling that such fissures are by design, and so they feel less like errors in judgment than intentional challenges Creton places squarely in front of his audience, beckoning them into a different kind of world, a different kind of film.

Reviewed online, April 8, 2024. In Cannes Film Festival. Running time: 82 MIN. (Original title: “Un prince”)

• Production: (France) A Strand Releasing release of an Andolfi production. Producer: Arnaud Dommerc.
• Crew: Director: Pierre Creton. Screenplay: Pierre Creton, with the collaboration of Mathilde Girard, Cyril Neyrat & Vincent Barré. Camera: Antoine Pirotte, Léo Gil-Mena, Pierre Creton. Editor: Felix Rehm. Music: Jozef Van Wissem.
• With: Antoine Pirotte, Pierre Creton, Grégory Gadebois, Vincent Barré, Mathieu Amalric, Manon Schaap, Françoise Lebrun, Pierre Barray, Chiman Dangi, Evelyne Didi, Mark Brown.

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