"Anekudu" (Telugu)/"Anegan"(Tamil) Film Review

This looks like the season of paper-tiger Tamil flicks dubbed into Telugu which are misfiring  - either under the weight of their own expectations or faulty execution. It happened with “Linga”, “I” and now it is the turn of “Anegan”, sorry, “Anekudu” starring Dhanush. The title itself sounded too highfalutin for even Telugu language and drove eyeballs. But in the Inox screen number four we went to, there were twenty people in all including the eight of us. We thought more would troop in as it was a long weekend. That never happened. The censor certificate put the length of the film as 159 minutes enough to doze you off when the show starts at 10 pm. 

KV Anand, the ace cinematographer directed this film starring Dhanush, Amyra Dastur, Karthik (remember “Gharshana” and “Mounaragam”) and Ashish Vidyarthi. Anand is hailed as one of the trailblazers in Kollywood after films like “Koh” and “Maatraan”(“Rangam and “Brothers” respectively in Telugu). He packs a lot into his films - eye-popping visuals, stunning climax, characters oozing out intelligence of the highest order, super speciality effects, melodious music by Harris Jayaraj and an undercurrent of a theme seldom highlighted in the media. Of course, his first film “Rangam” (“Ko” in Tamil) is still talked about as one of the best films in the last five years to hit South screens. “Anekudu” takes a familiar story but gives an unusual twist in the undercurrent to the main plot of a romantic pair - Dhanush and Amyra. Both of them are born and re-born again and again, first in Myanmar (Burma), then in Tamil Nadu and then again in Vizag and finally in one of the modern metropolises in India - call it Chennai or Hyderabad, who cares? Each time before the current avatar, Dhanush and Amyra get separated by death due to somebody’s villainy. Finding it out is the mission of current Dhanush and Amyra in the movie. Is it Ashish Vidyarthi? Is it Karthik? Or is it the lady who loved Dhanush in Burma? This is the story without tadka. Add to this, the jazz of lavish landscapes from Burma, Pallavas and the mass moods kicked up by Dhanush and flashbacks to the past lives through regression theraphy of a cleverly planted hypnotist, the story is talking masala sense. What is the sci-fi twist that KV Anand can add here? It is the villainy of a head-honcho at an IT gaming company who wants to count billions of dollars by making his employees hallucinate over past lives, imagine demons that can get a spectacular finish to the games they conjure up and finally ruin them with memes that maim the mind. One girl even feels she has to escape a demon molesting her and so she jumps off the high floor and commits suicide. 

The end comes agonisingly after many births and re-births of the hero, the heroine and the villains who keep re-surface. The dateline of the last story is about 25 years back - when Doordarshan ruled the airwaves and mobiles were yet to appear but the consistency checks were missing by an over-careful director. How come the girl only remembers her past lives as well as the characters she loves or hates but nobody else recalls any connection with her. The opening sequence, set in Burma, for example, shows the recent turmoil of the Military Juntas taking over Myanmar but oust only the Indians - was that really the case? Then the police cop’s role lacks depth and characterisation - even after the film, you don’t know if he was supporting the hero or the villain. Ditto for the lady who betrays Dhanush as the estranged lover, after first agreeing to protect him and his lover in a chase of their life on a steamship about to leave the shore of Burma. These inconsistencies mar the impressions you gather even if the overall effect is mixed. KV Anand’s efforts have always been this way - too many shades of grey and too many subtexts to interpret for each character except the lead pair. And a glaring irony in his story-telling. Is re-incarnation for real? Good, then why all the manipulation by the villain in the name of spurring his team to get hyper-creative? If the hallucinations are for real via regression theraphy, where is the need to show so many cycles of births? Yes, there are gripping sequences of action and revenge and mesmerising visuals on the life in Myanmar which actually houses a lot of Telugu immigrants but lack of clarity and consistency once again takes a toll on KV Anand’s biopic. On most other fronts, he scores high - flawless screenplay, effortless narration, gripping action, intelligence dripping in every frame untypical of commercial cinema. 

Dhanush’s performance sizzles again. He is better as the Vizag underbelly and as the chivalrous male in an IT company. Karthik looks fighting fit as a business leader, but his swagger is sometimes too much to digest, he needs to rough up more to become a baddy than use MC English for style. He has no need for props as decades after those memorable hits in the 80s, his screen presence is arresting enough. Amyra Dastur gets a range of costumes to show her lissome body and lovely face - she can be the next Amy Jackson to burn the screen. Harris Jayaraj’s music is the real treat in the film. All the songs set in varying tempos are well-shot and picturised thanks to KV Anand’s flair for panoramic scenery. Burma is my next destination and yours too, if you glimpse the first twenty minutes of the film - the rest is routine crime thriller jazzed up with theories of Karma. Must add that the title credits show Harris Jayaraj’s music effort with a spectacular fifty-plus member orchestra, manning music arrangements in Bazooka, Harmonies, Violin and Mandolin- he seems to have aced up for this movie and his soundtracks look particularly fetching for lovers of the Russo-Oriental music. Cheers to Harris Jayaraj, one of the most under-appreciated composers in Telugu and Tamil films. On the whole, the film is watchable once for the visuals and action scenes, some of them picked from “Titanic”. Despite flaws, movie-makers like KV Anand are needed to break the mould of formula fare in commercial cinema.

Rating: 2.75/5

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"Singam 2" ("Yamudu 2") Telugu/Tamil Movie Review

I watched "Singham" in one of the 2355 screens world-wide.  Thats a staggering number indeed - something that no Tollywood hero has ever achieved so far. Speaks of the all-pervasive appeal of Superstar Suryaa and Kollywood across global audiences.  His films combine action, intelligence, entertainment and a dominant theme that usually make a mark - something that interests film-makers outside Kollywood attracting the likes of Aamir Khan and Ajay Devgn. Given the high bar of expectations, therefore, "Singham" created an unprecedented buzz. The buzz started off with an early warning that seemed a little ominous: the length of the film. That's killing: 2 hours 46 minutes 13 seconds. You expected better stuff from the makers of "Singam": because it is a sequel in the most authentic manner - it starts off chronologically at the same point where Prakash Raj gets killed by Inspector Narasimham (Suryaa) in the last plot. 

Inspector Narasimham is under-cover this time to detect why stuff is getting imported via Kakinada port. He is appointed by Vijay Kumar in a top-secret operation that even the top cops do not know. Narasimham works unbeknownst to all including his parents, his girl friend Anushka as an NCC guard and gathers details about two gangs operated by Mukesh Rushi and Rahman who peddle drugs via Danny, an International Drug Cartel Ganglord. The first half is all about establishing the links to this deadly nexus between criminals, romantic tracks between Suryaa and Anushka (two-sided) and between Suryaa and Hansika (one-sided from the girl). Santhaanam sprinkles his sparkling comic sense throughout the film, especially enriching the entertainment value in the first half. The block on interval comes with Narasimham deciding to take charge as DSP of Kakinada as criminals run amok and the gang-leaders tighten their grip. Until this point, the film is gripping and intense, intelligent and entertaining. The gradient of entertainment drops off after that and never returns to give you that wow factor which you need in the climax to make a film a blockbuster. 

What are the highlights of the film? Undoubtedly, performance by Suryaa - he looks the most complete cop ever - suave, stern and gentle at the same time and a body that today's policemen in higher rungs don't have - abdomen made of concrete and an exterior that even Hollywood Superheroes can't fake. Next, Santhanam's comedy which has now reached a colossal status - he seems such a vast improvement over the loud Tamil comedians that were never a match for the iconic Comedian galaxy of Tollywood films. What is helping Santhanam who seems to be born with a poker face all the time is the lines that his writers write for him - they are worth a million buck. Vennelakanti has written solid lines for both Santhanam and Suryaa. "Vayasu lo figuru, Vayasayaaka Shugaru.." is just one of the many fabulous mouthfuls that Santhanam gets to speak with uproarious laughter. You don't really need a Vivek in a film that has Santhanam tickling you. Infact, this film shows Santhanam better utilised than any Comedian used by a Tamil Superstar so much in recent times. It seems a tactic borrowed from Tollywood's heroes. DSP's music is just apt for the moods and oompish songs of Singham brand. Director Hari's team has created a good dancing groove that may become as famous as Gangnam style - thats Singam style. Anushka  and Hansika look good in their roles - Anushka should switch from her brand of Yoga to Pilates and Aerobics in order to look slimmer in future. 

What mars the film is the length, as mentioned earlier. You don't need to establish the sincerity of an upright police officer in a sequel but Director wastes some footage in creating scenes that re-establish the character of Singam. Stunts could have been more intense and less frequent. Dubbing care has gone for a six in the film which was better handled in recent years thanks to Producers who have their ears to the ground.  Most of the film is short in a coastal town which is supposed to be Kakinada in Telugu but the editor's slip shows it as Tuticorin, most street shots still show Tamil signages. Chennai Airport is shown as Rajahmundry Airport, Kochi Airport is shown as Hyderabad Airport, pincodes of Kakinada don't add up at all and the sea coast of Kakinada can't hold a candle to the magnificent beaches of Tuticorin. Even the police station of which Suryaa is the  lion-king loosely shows the portraits of Sardar Patel and Netaji  - it looks more of a deliberate intent than a best practice amongst police stations in India. Chief Minister's Peshi shows Anna Durai, Kamaraj and others of a state from where it is dubbed from. Loose ends like this haven't been seen in a long time  - with some careful makers who eye Tollywood as much as Kollywood market. While the plot builds up to an intense crescendo at interval time, it fails to register a good finish in the second half with a dragging story and a weak climax. But the first half alone is enough for a watch-once recommendation, embellished by the performances of Suryaa and Santhaanam and glamor quotients of Anushka and Hansika. Rating: 3 on 5.

"Businessman" is indeed a hit!

Its now final - "Businessman" is a hit amongst the movies released for Sankranti in Tollywood.  ("Bodyguard" is also an average hit and has its supoort and patronage but thats not sufficient to upstage "Businessman"). And Mahesh Babu seems to be the New No.1 in Tollywood. Collections don't lie - from Rs.13 crs. gross +satellite rights of Rs.7.27 crs. It has already made money for the distributors and producers. Credit goes to both Mahesh and Puri for snatching a quick and cool hit - with tight schedule and tighter control on costs. If the trend continues this year, looks like Tollywood will be on a song because of more multli-starrers planned and faster rotation of reels between Superstars and technicians. If heroes like NTR, Mahesh, Prabhas act in 4-5 films per year and compete with the likes of Ravi Teja and Allari Naresh in more productions per annum - it is the best thing to happen for Tollywood desperate for more churnouts and more hits and more employability for its crew and cast. Last year, Tollywood saw a unique statistics. The no. of dubbed films in Telugu was 120 in 2011 whereas the no.of straight films in Tollywood were 118. That should tell how the technicians of Tollywood would have fared. Well begun is half the victory..So the tidings will be glad for another busy movie season coming up in February where many Star films are expected to release. Cheers Tollywood and Telugu Cinema.