"Manyam Puli" (Telugu Film Review)/ "Puli Murugan" (Malayalam Film Review)

There were not many films shot in dense reserve forest areas so this one called “Manyam Puli” made us wide-eyed once we saw the last frame of the 141 minutes of a panoramic film rich with spectacular visuals. The film in its original Malayalam version “PuliMurugan” raked in over Rs.100 crores and we thought it is a regular commercial film but it turned out to be a surprise packet of extraordinary visual beauty and effects. The story is not uncommon: Mohanlal is a wood-cutter who lives with his wife Myna (Kamalini Mukherjee) and daughter. His reputation in the village as a tiger-hunter is legendary and every time a man-eating tiger is on prowl, the buck stops at Mohanlal’s doorstep. Mohanlal’s brother is a crucial link in the story who unwittingly pulls in his legendary brother into a vortex of culpable crime that involves criminal conspiracy and drug mafia and extortion – the villain being Jagapathi Babu. There are few other villains thrown in the ring but they make an impact in few scenes and make their exit. What holds the narrative is an astonishing overdrive into the deep-water-falls infested thick jungle where Mohanlal maneuvres people out of the clutches of the tiger. There are atleast five mesmerizing action sequences involving the beast and MOhanlal which builds an excitement and tension into the screen. And few other fights which make you wonder if you are watching one of the magnificent action films of the Samurai variety where sharp weapons fly off the bodies and people are slain in split-second speed. The film has only one song in the first half but the tension is built up gradually with elements of an interval bang, a second half that loosens a bit and a rich pre-climax and climax. Vysakh is the director and Uday Krishna the story writer who create a dazzle of larger-than-life images and thrills – of the kind never seen before. Even earlier films like “Mrugaraju” of Megastar Chiranjeevi appear amateurish in front of the breathtaking scenes with a CGI Tiger and an agile Mohanlal. After lying low with two Telugu films which show him in lesser light, this film is a real treat to Mohanlal fans or anybody who wants to figure out the complete actor’s range of acting skills and screen presence. The risks in the angles of some of the shots make you gasp for breath but Mohanlal pulled it off in style. If not for the story, the treatment and the action sequences make this a worthy joy-ride with family. Music by Gopi Sundar once again elevates the forest moods to peaks. Cinematography by Shajikumar is outstanding. The Telugu version is trimmed by atleast 22 minutes which makes it even more watchable. The ending is predictable but the journey to the end is worth it. Performances by Jagapathi Babu is jaded while all others excel. Kids will freak out on the tiger scenes - something that Indian films have never cared to find out but I don’t get why a man who shoots an endangered species should be hero-worshipped. Such are the ways of Indian films. No wonder we are made to stand up for our sins of watching them by singing the National Anthem in a few days from now. Go for it. But beware of high-grade violence.
My rating: 3.25/5

"Legend" (Telugu) Film Review

"Legend" is a mighty entertainer that is more intense than a T20 match and a perfect film for Balayya's aging persona which suits his films one way - the highway of high-octane action, violence, anti-gravity stunts and rabble-rousing and of course, sentiment. The film generated unprecedented buzz after its satellite rights were bought by Gemini for Rs.9 crores - that's the highest for any Telugu film. 

"Legend" is all about a 160 minute duel between the family of Balakrishna and Jagapathi Babu, a factionist who thrives on terrorising people and building capital. Jagapathi Babu sets foot on Vizag for a marriage alliance and runs into rough weather with Suman, father of Elder Balayya over a road accident. Jagapathi Babu is chastised by the folks and hauled up. Unrepentent Jagapathi Babu decides to make Vizag his new "adda" and systematically eliminates Balayya's mother and father Suman. Enraged, the young Balayya annihilates the brotherly gang of Jagapathi Babu. The never-ending saga of violence forces young Balayya's grandmother to isolate him into oblivion and pack off the younger one, again Balayya to Dubai. Destiny pulls both into finding their mojo in  aggrandizing weapons when confronted by Jagapathi & Co. On the whole, a regular fare but when you infuse this story with many layers of masala fare, glam dolls Sonal Chauhan and Radhika Apte to serenede the two Balayyas, an item song, bazooka violence, and  the tested  "Basha" flashback trick to elevate the character of the elder Balayya, the fans have got the feast of a lifetime from director Boyapati Seenu.

Performance-wise Balakrishna sizzles as the elder Balayya. He has the best dialogues in the film and delivered them with all the weighty modulations they deserve. His body language has shifted over the years with non-invasive hand-movements (unlike the late NTR) and that is working wonders for Balayya and getting scripts that dovetail.  The absence of other big stars in that space of godfatherly roles has increased the charishma of Balayya whenever he dons such roles. Boyapati Seenu's  strength in exploiting Balayya's strengths on screen once again creates a magical chord as the crowds erupt in joy and clap louder than the sounds spewed out of multiplex speakers. Dialogues by M Ratnam are some of the sharpest as the lines insinuate all glory of the Nandamuri lineage and take potshots at the new princes, submerged leaders and politics defining our age. 

The surprise packet in the film is Jagapathi Babu who reinvents himself as the salt-and-peppered hair villain with a million-buck beard and a baritone that haunts. It is not easy to flaunt an overnight body language for a villain when the opponent is a legend like Balayya. But with minimal dialogues and maximum eye-ball movement and subtle body language, Jagapathi hit a home run that will surely get him meaty roles. He has less than half page dialogue but registers his screen presence strongly against a verbose but imposing Balayya. 

There are weaknesses in the film, though. Story is the biggest letdown. Boyapati has picked two mighty stars in hero-antihero roles but hasn't concentrated on giving their confrontations the mileage it deserves. There is no variety, creativity or chutzpah to underscore the duel between the two. By choosing a story that just shows Jagapathi spitting venom all the time against Balayya's family and about four not-so-strong scenes of confrontation, director lost a golden opportunity. Even in Mahabharata, the story between two families had unprecedented twists but this one is just a tailfish story with grotesque violence upon grotesque violence. Boyapati concentrated on showing Jagapathi in one way throughout the film but it must be said that that may work wonders for his career because Jagapathi can save his new tricks for a pronounced career as a villain.

Incredulity is another weakness. So much anarchy happens in mainstream Vizag and the police is shown hand-in-gloves with wilful criminals vandalizing people and properties. Violence also grates. More people are routinely killed, shot dead or butchered in this film than all the people who died for the cause of Telangana. By showing a juvenile Balakrishna (son of Balakrishna?) who kills thirty people in 12 seconds, Boyapati Seenu had shown children can get glorified in their violence - a shameful feat that will remain unparalleled. No wonder, the film got A certificate. Films like this may even become blockbuster films but the atavaism they promote will come back to haunt our society more.

Music wise DSP gives a different twist to the tunes- they are catchy and peppy and a few songs stand out in melody and rhythms. Radhika Apte, the girl who acted in "Rakta Charitra" sizzles in the film better than Sonal Chauhan. Brahmanandam is actually a bore in the film, don't take him seriously. The one who steals her share of limelight is the lady who plays Balayya's grandmother - watch out for her as the new maternal mom, last seen in "English Vinglish". The scene where a set of MLAs discuss what the voter wants in today's democracy is the most telling commentary on the state of affairs - that is itself a paisa vasool sequence.  On the whole, a comprehensive masala film with an overdose of violence. It deserves 3 out of 5. But don't go near it if you hate violence.