User Reviews

***SPOILERS*** ***SPOILERS*** Ammoru offers the Western student of Indian religion a fascinating glimpse into both traditional Dravidian religion, its relationship with orthodox Aryan thought and the way that Indian Cinema developed its unique flavours from traditional mythological drama.

The Aryans, the top three castes of India, are believed to have invaded India around 2,000 BC. They brought with them a religion similar to that of Greece, Rome, Persia and even Ireland, with whom Sanskrit shares a common linguistic origin. The lower castes originated from the earlier Dravidian people, who built the cities of Mohenjo Daro and Harappa, and possibly ancient Elam as well. Dravid now means Southern, because in the wake of the invasion these peoples fled south, but there may be a link with the words Dryad and Druid, because these peoples had a nature religion similar to ancient Greece and Ireland, and these words come from the same root as `tree'. Over 4 millennia, Dravid thinking influenced the development of Hinduism considerably, but there is still tension between the two traditions. All Hindus now believe in reincarnation, for example, not an original Aryan notion, and methods of meditation in the forest seem unique to the earlier peoples. Now, however, they have been incorporated into orthodox Hinduism, and local, tribal, non-Aryan customs are often viewed with distrust and contempt by the Brahmins.

Ammoru is a Telugu movie, a language which, like Kannada and Tamil, is not Indo-European. In it we see a Dravid girl recognise her village Goddess as an aspect of the universal feminine force, known in Tantra and Shaivism as Shakti. There then follows a series of miracle-stories, no doubt from traditional sources, but updated to the modern day. Between significant stories, or at significant moments, songs intervene. This is not a reflection of Bollywood directly, but a return to the traditional myth dramas that have been performed in India for Millennia. These lasted for hours, and individual portions of a myth were shown, then a song would allow explanation (and time for costume and scenery changes).

At the end of the movie the magnificent special effects prove that Ammoru is the same as Saraswati, Kali, Lakshmi and others. This justifies the vision of the original village girl and, importantly, places Ammoru as an equal with Aryan Goddesses.

Above all, it has led me to worship Her! The final scenes, as the Goddess kills the black magician and then transforms into various Goddesses before becoming the little girl again is stunning. Ditto the earlier procession and dance in which the little girl sings the revelation of the true nature of Ammoru while dancing in a wild trance. Quite frankly, for Pagans this is the best movie I've seen since, well, since, well, there must have been, well.......

Overlong, episodic and very much a cultural item that will no doubt lose something in the transition to a Western audience, AMMORU is nevertheless an impressive attempt at a Hindi "mythological" epic, packed with imaginative special effects, colourful sets and costumes and all of the traditional song-and-dance routines that we've come to expect from our Indian cousins.

The story is that classic tale of good vs. evil, and gods and demons taking over human forms and battling out their war upon the Earth. The film tells the tales of a whole number of characters, weaving in and out of different situations, and gets rather bogged down in the middle section with soap-opera theatrics and a lack of action all round. However, things largely pick up for the fiery finale, which offers some genuine shocks and surprises you won't see in the West, plus a smattering of gore as the final outcome of the battle offers an extremely nasty end for the villain of the piece.

Generally, the budget of the film is high, with a large cast, and the actors all do solid jobs with their roles. Especial mention goes to Ramya Sunayana, convincing as the powerful Goddess Ammoru, the girl playing the lead, Bhavani, and of course the excellent boss-eyed bloke who gets in on the action too. The special effects are of the computer variety, relying on the then-popular method of 'morphing' for all of the transformation sequences; the finale in particular is a culmination of all of the effects in the films and is genuinely impressive, more so than in a lot of Western films I could name which deal with the same idea. Elsewhere, we get people being possessed, mercilessly beaten and abused, walking over burning coals and levitating, all in a day's work for fantasy lovers really. However the film's impressive highlight is undoubtedly in the huge hand that emerges from the lake to transport our Goddess to safety; a particular image that stands out as the very best moment the film has to offer.

I liked this movie i have not seen many movies of this genre and I agree that buy western standards the special effects are not great but I think it is charming never the less! I have watched about four times now. It's style made me think of old Hammer Horror films! I was shocked to find that the main female actress died in a aeroplane crash with her brother in India 2004, I thought see was very beautiful, and had a great on-screen presents.

If I had to criticise one aspect it would be the rapist character who is asked in to rape the main female character to discredit her as immoral to her husband, the goddess of the village Ammoru substitutes her with the daughter of the head of the house, this character then has to marry him after he raped her! This was not an issue at all in the movie! but maybe the meaning is confused in the English sub-titles or there is a large cultural difference in attitudes to rape?

Super scary when I was a kid. Now.... Oh My God!!!!

Bhavani, a devotee of Goddess Amman, gets an evil godman arrested. However, when he returns with the intention of exacting revenge on her, she turns to the goddess for guidance.