"Aagadu" (Telugu) Film Review

"Aagadu" is an alround entertainer starring Mahesh Babu which tries to erase some of the bitterneess tasted at the Box Office by the same producer trio who gave us "1-Nenokkadine". With Sreenu Vaitla, MS Guhan in cinematography and Thaman's techno-trance music on the technicals, the team cast fair and lissome Tamannah, ruling Diva Shruti Hassan in a club song and comedians Brahmanandam, MS Narayana, Vennela Kishore. Apart from a familiiar comic villain Sonu Sood who is a regular fixture in Mahesh Babu films, they cast three musketeers Prabhas Seenu, Raghu Babu and Posani in their career-best performances. The movie sizzles mostly in the 165 minutes of ubiquitous entertainment that moves at lightning speed. The audiences also laugh at all the right places. Yet, something has gone wrong in the film. Is it the story?  Characterisation? Treatment? Heroine? Over-confidence? Dialogue modulation? Lack of novelty? Lack of sentiment? Burden of expectations?

All of that and the fatigue that comes with the familiarity associated with all of Sreenu Vaitla's films. As a director, Sreenu Vaitla seems flawless because he moulds his films in the KV Reddy style of film-making that moves a story forward with all the elements of entertainment that family audiences lap up. But if you see the discography of Sreenu Vaitla after the first five films and compare them with the output of the last four - "Badshah", "Dookudu","Ready", "Dhee" they are the same - a light-hearted romance, a gang of villains, sentiment of family renuion or father-son-brother, hero using Brahmanandam to infiltrate the villain gang and tomfooling them with a fairy-tale ending. That is precisely the story in Sreenu Vaitla's films.

In "Aagadu", Mahesh Babu (Shankar) is a cop who takes revenge on the gang of villains led by Sonu Sood for separating him from his father (Rajendra Prasad) and brother and a lot that follows after that. And then eliminates each one of them in novel ways  - thats the good part of Sreenu Vaitla's screenplay. The story has a picture-perfect ending but takes you through a roller-coaster of entertainment and great comedy that ranges from top-class (like the MEK-inspired quiz show) and sub-standard (the teleshopping ad-inspired advert on Saroja Sweets).

Despite choosing some great jokes (which spare no one from Balakrishna to Chiranjeevi family  to Botsa to politicians and sportspersons) the film lacks freshness in content and treatment. This is where I doubt if the film will have the stamina at box office to beat previous records because as I reiterated in the past, Telugu audience is the smartest when it comes to detecting movies with a deja vu flavor or plot or treatment. While Tollywood doesn't make different films each time, the audience doesn't blindly consume films similar in content. This is the greatest irony of the industry which over-invests in stars and star music directors but under-invests in story-writers. Even if this film is made for the fans of Mahesh Babu, they will be the first to desert the movie after the holiday season ends - thats the cold truth which superstars and mega power stars must realise.

Over 165 minutes, the director goes down the beaten path of entertainment pursued in "Dookudu" - the same childhood days during titles, the romance in pre-interval, heights of comedy, fights galore and the square-off with villain in interval, the item song post-interval and then Brahmanandam's key entry at climax time. Punctuation followed with boring predictability and resemblance to so many films like "Yamudu", "Singham", "Gabbar Singh" and of course, "Dookudu". Sreenu Vaitla's obsession with television shows in igniting comedy out of everything needs to end. He has the commercial sensibilities to take entertainment to the next level without diluting family-wide viewing needs. Unfortunately, he has fallen out on ego issues with writers who supported him till "Badshah" - Kona Venkat and Gopi Mohan. With a new bench of writers, what stands out is the dialogues but not the story outline.

To be fair, there are some highlights in the film. Undoubtedly, there are actors who stand out - MS Narayana (he has the best self-edited lines in the film) who steals the thunder without moving an inch from his seat except in the last scene. And then the three musketeers - Seenu, RaghuBabu and Posani. Rajendra Prasad is under-utilised; a weighty actor like him is reduced to be a poster boy father to Mahesh Babu. The scenes where Mahesh Babu remixes and tells the storylines from his previous films are hilarious and different. The best scene of comedy is the Quiz Show spoof on MEK. All the three musketeers and Mahesh Babu and Vennela Kishore outshine each other with comic voice modulations mimicking TV hosts. It runs for almost nineteen minutes and can get repeat audiences. Sonu Sood, Mumtaz and Ashish Vidyarthi fail to create impact in the film - Sonu Sood salvages a bit in the climax with his own retelling of a Panchtantra story that sort of summarises the story itself. (Maybe thats the source of inspiration for Sreenu Vaitla's creative team). Tamannah seems a misfit in the film despite her bare-all attitude. Shruti Hassan outsizzles Tamannah in one song even if they don't share screen together. One is tempted to think the pairing would have been perfect if Tamannah was restricted to an item song and Shruti was the main lead.

Mahesh Babu, despite all the limitations and fatigue in content, carries the film entirely on his shoulders. He spares no effort in taking charge of every scene where he is either leading the show or insinuating an outcome. His voice modulation is seeing an unprecedented transformation. In "Dookudu" he tries two modulations (Telangana and Andhra accents). In "Aagadu", he tries too many to remember and register. Thats a fatal flaw because the audience need time to process so many modulations and in the end you may remember only few dialogues but fail to acknowledge the effort. In an attempt to make himself a Superman in all departments, his efforts may go waste unless audience repeats to this film. It may well be a costly lesson for all heroes - don't over-invest yourself in one movie unless you plan to retire with this one. Dance movements have been more graceful for Mahesh in the film. Prem Rakshit seems to have done his job well in the three songs that had some choreography to note. Stunts have been many but only one stunt pre-interval has been good - that should have been all there is in stunts thanks to Vijayan. The rest of the stunts actually suck including the costly one shot at Bellary in the opening sequence. With all the modern technology available, today's stunt masters don't seem to get the emotion that accompanied the "dishum dishum" sounding stunts of old times - today's heroes are better at bending limbs and breaking bones but not at getting whistles. Mahesh Babu has already made a statement in "Dookudu" that he is the best in the current crop of actors in range and repertoire of acting and screen-sharing with seniors. In this film he may have overdone his bit that borders on over-confidence. What undermines his efforts is the choice of the plot and the absence of connect with the audience in the form of sentiment. It was sentiment and comedy that made "Dookudu" a blockbuster. By firing on all engines of comedy, director overlooked the role of sentiment in this film.

Thaman's music in his fiftieth film is good in parts but not in the same league. One finds the BGM score reminiscent of "Dookudu" re-recording. While two or three songs stand out for the beat, the picturisation lets the output down. Sreenu Vaitla chooses outdoor setting for both the fast songs in the film which makes it monotonous to watch. Atleast the last song should have got done in a lavish indoor setting or in Chiraan Fort  (his lucky setting for scoring a hit). On the whole, you can watch it once for Mahesh, comedy but the length and the fatigue wear you out in the second half. First half by itself should have been the length in this 165 minutes of reptitive fare. For that it doesn't deserve the top-notch rating.

My Rating: 2.75/5

#Aagadu #Tollywood #filmreviews #MovieReviews #MaheshBabu #TeluguFilms

And the Oscar doesn't go to...

And the Oscar doesn't go to...

So even the Oscars couldn't defy "Gravity" its anti-gravity moment. The mexican director would have lived out his space in  trance as his film bagged seven oscars out of ten. Predictable? Not so much. Or maybe. Because over the years, the awards have a degree of giving out max to those films which generate the maximum adulation from the global audience. This could be because the Hollywood Studios and their gargantuan think-tanks are hitting  a dry run when it comes to big markets like China, HongKong, India, and the MiddleEast where cultural dissimilarities are making their films come a cropper. "Gravity" collected Rs.62 crores in Indian theatres despite the hoopla. "Dookudu" and "Gabbar Singh" generated a higher RoI than that film.

On that count, you can see why films like "Slumdog Millionaire" and "Gravity" sweep the awards even if with  diluted standards and dumbing down of English for the global audience. It is like a Miss World contest or Miss Universe contest - Hollywood which represents the apogee of American Culture wants  and crowns film-makers who strike gold with more eyeballs rather than film-makers who are altruistic (Oliver Stone), brazenly American (Martin Sorcerese), uncompromising (Steven Spielberg) or self-obsessed and controversial (Woody Allen).

 If the trend continues, 20 years down the lane, I think there will be more foreign language films competing for the Oscars or film-makers with the American sensibilities but a global pulse like Eduardo. That leaves the Indians with a terrific opportunity - don't make films for the Oscars, try to beat them in sensibilities and cultural opulence and larger-than-life sliceness. One day, with SFX a "Bahubali" or a "Hanuman" or a "Mahabharat" will gross as much as a Spidey or a Batman. Americans have killed more film industries since the 1920s by their clinical imperialism of the culture of Americana which has a distinct closeness with most Western cultures except the Koreans, the Chinese and the Indians. Watching the Oscars this time became more boring than a Pogo channel where the anchor hustles with a masked face. No wonder, the Oscars are now looked down by those who covet the BAFTAs, the Golden Globes, the Cannes or now the Sundance where unconventional yardsticks of measuring success are bringing out such exciting films like "Boyhood" and "Wajdah" (2012). 

On the contrary, Oscars are still stuck on  criteria that the critics and the audiences don't seem to agree often but are determined by quixotic whims and messages from the masters who call the shots at the industry. Any idea why Sandra Bullock didn't get the best actress award? Any thoughts why Leonardo Dicaprio continues to be at the non-receiving end of the awards? Despite a uni-dimensional way of judging the films, the Oscars get the maximum mileage but still lesser than what the Superbowl or FIFA World Cup command. 

Today, close to seven billion people are watching films and a fraction of them are wanting to make films in as many unique way as their sensibilities and paradigms motivate them to. The Oscars can go to anybody who is trained to give a well-rehearsed elevator speech. But lets not think that their success is a benchmark - don't be misled by the UNESCO heritage-type statements going out when the Oscar goes to a film that talks about slavery in Africa, a war waged in Afghanistan or Iraq or a legend in South Africa. There are more ways to watch a film, make a film and even review a film. Remember tonite that Oscars may be more anti-diluvian in ways you haven't  yet realised.

Tollywood's "Gabbar Singh" is one of top five grossers!

According to `Business Standard’, as on June 1, `Gabbar Singh’ (Telugu remake of Dabangg) grossed Rs.128 crores in box office collections taking it closer to Dabangg’s Rs.173 crores. This makes the remake catapult into the all-time five grossers. That’s the power of mass-masala fares and box-office magic which eludes realistic cinema. I have always had a liking for this kind of escapist cinema despite my occasional tantrums. And it doesn’t matter whether we like the movie or not, the audience poll says it all. That seals it. So, it was with `Dookudu’ or `Raccha’ or movies like `Kick’.


I am ever curious about the commercial cinema fans who flock to such fare and how it translates economically. When I watch a movie, I keep my thinking hat aside, my `Satyajit Ray’ mind at home and enjoy the flow looking at the commercial sensibilities. Yes, there are occasions we love art cinema and good classy films like `Ala Modalaindi’ but cinema is a mass medium, not an art exhibition for connoisseurs.

Unlike any other art, cinema is the only medium that doesn’t require the patron to be literate. You don’t have to be a cinema-literate as in book-literate or an art-literate or a gold-literate to buy or consume cinema. You just need a funny bone and a pulse to enjoy. Those who criticise a movie is good or bad should do keeping in mind the mass-reach of this medium – every day, 3.2 crore Indians watch cinema, pay Rs.28 per ticket on an average, and forget their foibles and problems in the three hours of watching a movie. The only time they take a break is during the Intermission time – which was first introduced in the world in the 1920s and then after the movie ends. As long as the content is non-offensive, non-sectarian and non-preachy and off-beat, a movie should get most likes.

Why am I making a mountain of this molehill of a datapoint on `Gabbar Singh’? Because I am irked by Outlook magazine’s collector’s edition of 100 years of Indian Cinema. But for making a fleeting reference to Telugu movies, there is no special mention of Tollywood or its enterprising breed. For them, Telugus are also part of `Madrasis’. If Bollywood regained its lustre over the last few years at the BO, thank the Tollywood and the Kollywood filmmakers for lending their scripts and even talent for making blockbusters out of superhits in South Indian vernaculars. Salman Khan to Aamir Khan, Akshay Kumar to John Abraham, everybody is borrowing brilliance from Tollywood or Kollywood (Tamil film industry). To under-recognise their contribution in commercial cinema is to do gross injustice to Tollywood’s contribution.

Earlier, I wrote a post on why Tollywood is better than Bollywood – I will expand on that a bit later. Right now, Telugu fans should rejoice that a regional movie has tasted resounding success crossing $22 Million at the Box Office. A guy like Salman Khan paid advance of Rs.50 lakhs for incorporating the famous `Anthakshari’ comedy sequence of `Gabbar Singh’ into `Dabangg-2. The power of ideas. The power of Tollywood. More power to you.

`Outlook’ should realise that watching a movie is not the same as going to Cannes film festival and get plaudits from pundits who make movies for themselves. Satyajit Ray films are a class apart always, no doubt, but let’s not forget that throughout his career, Ray didn’t get funding from anybody but the State Government. Cinema sense and sensibilities are two very different things. And movies like `Gabbar Singh’ have proved yet again what Box Office power can be unleashed by making sensible movies for the masses.

Here’s a toast to all those entertaining filmmakers of Tollywood – let your outlook not change even if mainstream media is not looking your way.

MAA TV vs. Gemini TV vs. ETV vs. Zee Telugu

Earlier, films used to clash only at the Box Office, on Fridays. But now, most clashes aren't  happening there. TV Channels is where the action is. Yesterday, amidst much fanfare, MAA TV has set the timing for telecast of "Dookudu", Tollywood's biggest blockbuster at 6pm Sunday. Lot of billboard advertising, radio ads and countless promos have gone into driving traffic for the film premiere which was purchased for well over Rs.5 crs. All set for 6 pm slot. But Gemini TV, AP's No.1 channel is not an easy competitor - atleast, they never let go an opportunity to nibble into rival channels' market share. They telecast another blockbuster "Kaanchana", a ghost-thriller movie of Raghava Lawrence at 3.30pm which is actually sleeping time for most Sunday TV watchers. But the climax is red-hot and must-watch for any film buff, it was stretching beyond 6pm - which made the edgy MAA TV delay the "Dookudu" telecast beyond half-hour. Last half-hour saw enormous channel-surfing as viewers were glued to the "Kaanchana" climax. Meanwhile, MAATV showed the curtain-raiser of "Dookudu" to fill in the half-hour during which "Kaanchana" ended.

The drama didn't end there. At 6.30pm, Gemini TV showed another hit of 2011, "Mr.Perfect" starring Prabhas and Kajal. That coincided exactly with "Dookudu" and the ad slots were carefully chosen not to clash with each other channel. But the movie on Gemini ended atleast 45 minutes before "Dookudu" finally got completed on MAA TV - with actors' clippings, samantha's comments and finally a re-run of the most hilarious episodes of the film stretching the run time from 6pm-10.30 pm. Only, "Ben Hur" and "Meraa Naam Joker" would have beaten that record running time. I am always intrigued by the rival strategies and counter-strategies of TV Channels in AP - they try to outdo each other. But I think, maturity-wise, MAA TV and ETV are better-off than the competitive Gemini TV. Gemini just can't give up fighting - whether its a Zee Telugu premiere or a MAA TV Blockbuster. Why do I say that? The total Ad revenue size of AP TV channels is Rs.700 crs. The prime slots take bulk of the revenue. It is therefore wise and economical for channels to vie for viewers' attention more carefully instead of making the advertisers lose money on programmes which don't get undivided atttention. The pecking order for entertainment channels in AP is as follows: No.1 Gemini TV, No.2 MAA TV, No.3 ETV and No.4 Zee Telugu. So, the race is between the top 3 really with channel share (sum of all channels in the group brand like MAA or Gemini) going upto 10-15 per cent.

Thats why the stakes are high for the top 3 but what I find intriguing is Gemini never gives in easily to the No.2 or No.3. And so, all throughout the day, yesterday, in order to tackle "Dookudu", it built steady traffic through blockbuster after blockbuster. Started with "Kick", then "Kaanchana" and then finally showdown with "Dookudu" - "Mr Perfect". Even though MAA TV now has the movie rights for the top five all-time Industry hits in Tollywood - 1. Dookudu 2. Magadheera 3. Arundhati 4.Pokiri and 5. Simha, there's a tendency to over-pay and raise the bidding stakes for producers of superhits. This is a game where the channels lose out which ETV doesn't get into. Gemini TV does get into the bidding game but doesn't over-pay. It picks one out of every four movies bid for satellite rights but ensures it stays in the competition but doesn't end up over-paying. "Gabbar Singh" the next industry all-time grosser is currently going for Rs.9 crores. We have to see who picked it.

ETV also tried its best to nibble into the viewership yesterday by airing a special program on SPB "Nenu Naa Swara Kartalu". The program took away some eyeballs from "Dookudu" in the middle. Advantage ETV and Gemini TV have over MAA and Zee is the vintage viewership and loyal base. Through old classics bought for a song and long-running musical shows and serials, they have ensured higher profitability and longer loyalties. Can you believe a movie like "Shankarabharanam" rights were bought by Gemini for Rs.1 lac only? Interesting strategies from different channels.

"Bodyguard" Telugu Movie Review

“Bodyguard” is the last of the films made under the same title in every language in South India and also in Hindi. Venkatesh plays the role of “Bodyguard” in Telugu – bodyguard to Trisha Krishnan. The movie’s main weakness is lack of depth in the storyline itself – not much romance can spring up between a bodyguard and his subject, so a romance gets built up out of thin air – Trisha (Her name is “Keerthi” for the third time in this Venky-Trisha combo) keeps calling Venky as a mystery caller and makes him pine for her. The story then goes through the twist in the last half-hour which is the most convincing part of the film. Venky seems to have changed the rules of bodyguard a bit - to induct more of his brand of humor and get more sympathy which is commonplace. I have watched both Hindi and Telugu versions now and can say but for some more humor introduced through Venumadhav, the Hindi version was better because of Salman Khan’s diginified performance – he had the body and the stoic stature. Even Kareena’s characterization was more consistent and justified. In the Telugu version, Trisha’s character is weakly etched and lacks justification at the point where she falls in love with her bodyguard. Venkatesh, is no doubt, a fine performer always but this role doesn’t suit him and however much he tried with his tired looks and trite melodrama, he looks more like a homeguard than bodyguard. Somewhere, he has failed to improvise on his performance over the last several years – goes for minimum risk family fare. He should take more risks at this stage of career or invest heavily into better storylines which families will anyway come to watch because he has the niche – in that sense, the movie’s cleanliness and family-friendliness is intact. (Unlike the other movie “Businessman” which caters to the under-30 segment with its adult fare).


There is a scene after interval where Venky and Ali sneek into the ladies ‘ hostel with lady attires. Only difference, unlike Ali (who can dress to kill like a lady), Venky doesn’t take his moustache off but still creates a laugh riot with a “Dookudu” number. The impact would have been magnified if he has taken off his moustache. That’s what I call risk-appetite - which is missing. Nag, Balakrishna, Pawan, Mahesh, NTR, even Chiranjeevi experimented with their face and removed moustache even if for one scene but not Venkatesh. Not that it would make a difference but I feel its high time for Venkatesh to think of something dramatic to re-invent himself. If he is doing “Swami Vivekananda” role, why couldn’t he be clean-shaven for a fleeting pause?



Forget this excursion, but back to the movie, “Bodyguard” is barely watchable because the story lacks depth and variety without a scope for getting more bang for bucks –and appears long because you can feel some sequences were inserted only for Venky flavor. But it will get the votes for better songs (atleast three melody numbers), clean family fare, and some good laughs. There are some needless stunts which drag on with excessive slow-motion and threading work – the make the movie that bit unbearably long. The pace and the plot was such that I went snoozing a couple of times. I may have missed Nagarjuna movies often in the last five years, but family always insist we watch a Venky film – afterall Venky gave so many Sankranti hits in his career except some famous duds like “Devi Puthrudu”. My family said they felt they have seen this movie before – it was that old, not that it is a remake of Hindi film but a rehash of Venky films itself. Venky has more potential and talent and a better personaility than plots like this. Even if the movie makes money - which I am sure it will because of the mutual exclusivity of the audience it caters to than the other Sankranti blockbuster "Businessman" - I hope Venky takes bold steps to re-launch himself and take more risks.

"Businessman" Movie Review

“Businessman” has opened to unprecedented fanfare and release with some 1600 prints and 134 theatres in Hyderabad alone. Being a Mahesh Babu-Puri Jagannath combination, its naturally on the cusp of heightened expectations. To a very large extent, the movie delivers with extra-ordinary entertainment in the first half and almost into the second half just on the basis of terrific screenplay, dialogues and maverick story-telling ability of Puri Jagannath with the magical screen presence of Mahesh Babu shows his natural knack of being an angry young man under tight leash and delivers a stylish performance with uninhibited looks, surprising close chemistry with Kajal (heroine) and dances that show him in better light than in recent times.


Most of the improved trappings of “Dookudu” in terms of better eye-contact, body language and finesse are what makes this movie mostly watchable except some portions of the second half which drag and sometimes bore. Fans will be delighted to hear so many mouthful and height-of-manhood dialogues in one movie – if there’s a soundtrack of dialogues – I probably will buy one – Puri’s pen shows sharpness and wit – this movie will probably have more one-liners than all his previous movies and don’t get misled by the cheesy advertorials of the hero vowing to make Mumbai piss in its pants – there are much more. Kajal is perhaps shown in more skimpy clothing and this is her boldest look after “Dhada” (Nag Chaitanya). Atleast two songs are well-choreographed and well worth – “Saarosthara” and “Chaavve”.

Even though the first half is under-fed on graphic violence, Puri compensates well in second half – the violence of “Pokiri” fame and even a liplock with Kajal. What mars the movie is this violence in the second half and the flimsy grounds on which the hero justifies it saying that since we kill so many mammals and amphibians daily - even this is justifiable - is ridiculous. Mahesh has shown so much restraint and responsibility in filtering out violence in “Dookudu” embraces it with both hands and plenty of guns in this movie – this can put anybody out of mind. The other bane in the movie is lack of a single-card Villain of the piece. Who is it? Not Prakash Raj. Not Nazar. Not Shinde. Not Subbaraju.

Nobody successfully contests Mahesh as a villain for too long – and nobody gets the lines or attention that’s worth their salt. And comedy – none of it in the second half. Most of the comedy, if you notice it, is in the first half and comes as fleeting in bits during the way the romance gets built up between the hero and his muse. Story-wise, there are many shades that resemble most of Puri’s films even though he gives a new extra-constitutional, legalistic license to create arson and loot by the hero who acts like a Robinhood- a law unto himself – in a bid to correct corrupt politicians and ill-bred criminal elements in the system. No Brahmanandam, No Ali (surprise) and No Jeeva – no comedy track at all but still the movie sustains very well until the 9th reel *(out of the 14 reels). With so much analysis for and against the movie, is the movie good to watch? It is mostly watchable– because of the narrative speed and story-telling of Puri Jagannath and Mahesh’s magical presence. Music by Thaman is good in BGM and atleast three songs. Some experiments in the movie are breaking a pattern – like no song till 30 minutes of the movie, no formal comedian, no villain of identifiable length – will have to see whether the fans lap it.

Sankranti and Tollywood Movies

Tollywood movies this Sankranti are likely setting the tone for what to expect in 2012. Two reclusive Babus are releasing movies whose titles start with "B" and have the same music director. The same Babus are later starting work on a multi-starrer to be produced by Dil Raju. How the fans of each other behave now will cast a shadow on the way the multi-starrer later is received. The situation is ...so upbeat between the movies - "Businessman" and "Bodyguard" that "Nippu" that Ravi Teja's movie got postponed beyond Sankranti. The only movie with village backdrop is Nandamuri Tarakaratna's "Nandeeswarudu" but I am not sure it will grab the eyeballs between two reclusive Superstars. Sankranti is not for the fainthearted and only established heroes test their appeal at the Box-Office for this season - the rest try their luck during "safe periods" - December, Diwali-Dasera and Summer holidays after EAMCET when chances of assured student audiences abound. Since we come from Village background, my family revels in Sankranti season - we watch all movies in those 3 days - back-to-back almost - and have usually found the Sankranti winner is usually a Surprise packet - the "Pandem Kodi" is actually the one you haven't bet on. But for those who feel happy about it, Mahesh Babu has beaten the record of Allari Naresh in getting a movie out within just 100 days of his previous movie "Dookudu". I hope 2012 brings out more such welcome developments where stars act in more movies, take on experimental films, co-star in multi-starrers, and take Tollywood to greater heights. Last year, we had dubbed movies like "Rangam" usher in the Sun's transit into the Northern Hemisphere. This year, its Telugu all the way - hope the year will be the best for Tollywood.