"Pataas" (Telugu Movie Review) for today's Premiere

I wrote this review after watching "Pataas". Realised I haven't posted it and today "pataas is getting aired on Gemini TV at 6 pm."Pataas" (Telugu) is entertaining film. A bit late I know but a short one from me. In a single para, as someone wanted. Good to see Kalyan Ram score a hit after ten long years. After "Athanokkade", this must be a standout film for him - less classy, but more masala-oriented and entertaining. What I like about Kalyan Ram is that he never allowed his family fortunes to build halo around him. He could have chosen to finance half the so-called hit directors, but instead he backed himself with different and at times risky scripts but gave breaks to a new director everytime. This time it is Anil Ravipudi - he will surely go places because he has the knack of packing energy and punch in every scene even if it appears often predictable. 141 minutes of relentless fun with loads of comedy from Srinivas Reddy, Asutosh Rana, Brahmanandam and of course, MS Narayana. MS Narayana signed off with a hurrah and can be seen until the last frame. Music by Sai Karthik is average; he is better at RR than song composing but passes off as okay. For the police force, the film is a morale-boosting film - lifts them into higher orbit with moral rebalancing at the end. Heroine Shruti Sodhi is thunderous but lacks cuteness. Saikumar carries off his role with all sobriety and grace. Kalyan Ram is the guy who worked hard on dancing, acting, dialogue delivery and dress sense in the film  - and comes out good in every frame. Hope he builds on the image from the  success  guaranteed from this film. With "Temper" and "Lion" set for release, looks like the Nandamuri family is on a leash after a long time. Patience is the virtue of Tollywood fans - they will reward you if you are from the film's royal family even if you deliver even after ten years (Kalyan Ram). It happens so often with superstars. Rating: 3.25/5

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"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.

"Om" 3-D (Telugu) Movie Review

This year's much-advertised 3-D film begins and ends with a sordid stunt, several false starts and a bizarre climax that might give you a headache. There is neither "Om" chant in the beginning nor a "Shanti" at interval or at "The End". It is quite a twisted plot with a lot of twists throughout the film which make it quite taxable viewing.  

Story is deceptively simple: Kalyan Ram is a business tycoon's son  - his father Karthik (Remember "Mouna Raagam" and "Gharshana"?) and his uncles Suresh and Aahuti Prasad run the show. There is a pack of villains  - Rao Ramesh and another toughie who want to eliminate Karthik. Enter Kriti Karbanda, first heroine who entraps Kalyan in love. Enter Nikesha ("Komarum Puli" fame) who wants to marry Kalyan as well. But it turns out Nikesha is out to eliminate Kalyan Ram because he is one amongst villains. Even the first heroine is another cat set among the pigeons - the pigeon being Kalyan and family. Interval block shows Kalyan shooting Nikesha point-blank range. The second half has greater unravelling of dramatic fiction: the toughie who is a cohort of Rao Ramesh is the real father of Kalyan Ram and not Karthik as believed. Karthik is the original villain who kills Kalyan Ram's grandfather, usurps his wealth and brings up Kalyan Ram while making the toughie go to jail for his wages of sin. Quite a dazzle of a story with unprecedented twists and turns but what's the point of all this? Has it justified the title - Om? No. Has it developed the romantic track? No. Has it enough material to entertain and sustain the zig-zagging screenplay's running time of 125 minutes? Partially yes. Does it catapult Kalyan Ram to the next level? Hardly so. 

Kalyan Ram produced this film again directed by a newcomer Sunil Reddy.That seems to be his business model throughout his inconsistent career-graph so far. He introduced many newcomers which includes technicians and always has a first-time director and makes a film with good production values and a well-heeled budget. Some of his directors like Surinder Reddy have become star directors. With this film, he has introduced 3-D technology  - which makes it the first action 3-D film in Telugu. The total 3-D footage is commensurate with the action sequences of the film which is about half-hour - but the sequences don't thrill you with emotions, they merely explode on the screen  - tyres tumbling out in your direction, synthetic fires engulfing the villains,SUVs flying like amoeba particles, and the occasional side bars and pillars making way to the characters you see on screen. Is this what 3-D film all about? It's not worth all the buzz. No wonder, there are more 2-D films than 3-D films and there are more pirated films than there are 3-D versions in Indian Cinema. 3-D makes sense if there's more depth in the storyline than a mere revenge story with a love triangle as this. 

Production values, however, stand out. Cinematography by Vincent Ajay and music by two -  A Rajamani and Sai Karthik - uplift the film in both the songs and the BGM. Glamour is in ample measure - both Kritti and Nikesha look good. Comedy is weakest and that can undermine the film's mass appeal. Rao Ramesh gets the only chance to play a comic villain like his father. Karthik as the father and the villain is thorough and impactful - he maybe the only reason to watch the film despite special attractions, Ghantasala Ratnakumar who synced his voice for Karthik for so many years returns to uplift Karthik. Kalyan Ram should learn that time is running out for him to re-establish his stardom; his films are different but not very different from one another - at the core, they are turning out to be tales of revenge, graphic violence, modest romance and negligible comedy. He needs to try out different roles, stylise his looks, and try different commercial formats. Otherwise, the man who made "Om" and "Hare Ram" will become "Hari Om". Rating 2.5/5.

"Adhinayakudu" Movie Review (Telugu)

"Adhinayakudu" is a 3G wireless gift for Balayya (Balakrishna) fans - it shows Balayya in son, father and grand-father roles. Parachuri Murali is the writer-director ( I don't know which other movies he directed with a famous surname like that). The story is set in Rayalaseema backdrop but comes with a different treatment that his fans are usually used to. Harish Chandra Prasad is the patriarch who rules the hearts of the masses in many villages by getting FDI approvals for an iron-ore project in Kurnool. He convinces many and moves against many odds to get the project approved so that more people turn to employment instead of taking up sickles and bombshells. His son Rajendra Prasad takes on the responsibility of carrying out intent of the father. But the villains who don't like the good samaritans divide the father and son and what more, connive to brainwash the grandson in his infancy to kill the grandfather. This is the story that is unravelled in the end - but the story begins differently - the juvenile who grows up in Mumbai follows his roots to Rayalaseema and then the familiar climax - after lots of twists, flashback, romance, comedy and fights.


To be fair, Parachuri Murali weaves an intelligent plot with three diverse roles for Balayya and infuses life into the scripting and screenplay. The movie moves with a verve and freshness not usually associated with a Balakrishna movie. Dialogues are classy not crass, music is just about okay even though Kalyani Mallik - the less-talented music director of MM Keeravani tries hard especially in one or two numbers and OST. Lakshmi Rai sizzles with her thread-bare revelations in two songs and carries on her glamor well. The main villains led by Kota Sreenivasa Rao and Ajay do a good job. Brahmanandam comes up with a fine performance - and his comedy with the young Balakrishna masquerading as an alien from Mars is hilarious and fresh fun. Violence is also grossly toned down and so are the dialogues - they are not at all political and censorable, I am surprised they are written by somebody other than Parachuri brothers but bearing the same surname.

There are few observations on the film. In his anxiety to project all three characters in equal length, director adopts a racy track to collapse many frames and moods in quick succession - at times, it comes out good but sometimes the intensity is diluted. There is a danger, just like VV Vinayak's screenplay in "Chenna KeshavaReddy" that the characterisation goes adrift because of the need to show a screen friction between father and son, and later between son and grandson. Sometimes, you do get confused in having to take sides with the three characterisations - they never syncronise in one moment except for a fleeting phase during flashback. 15 Reels is also a bit long for a movie nowadays despite efforts to edit most scenes. Director has a talent and grip over making intelligent and sensibile cinema and for that he deserves a pat - you can watch it once for the treatment and the thrills and the diversity of roles played by an ageing hero. Even though I am not a great fan of Balakrishna, this movie shows him in better light than his movies in the past. I wonder why "Adhinayakudu" was delayed for 4 months without a buyer - it is passable fare and watchable for most of the time. I only wonder whether the fans, who seem to be calling most of the shots in Tollywood, will take an under-tone, under-stated Balayya. This is a better performance for NBK than "Srirama Rajyam".

"Dammu" Movie Review (Telugu)

“Dammu” means “stamina” in Telugu. Supposed to be short-hand for the box-office charishma of the short-statured, short-tempered NTR Jr. He ropes in Boyapati Sreenu who delivered monstrous hits for Balakrishna ("Simha") and Venkatesh ("Tulasi"). And two heroines  - the in-form but ageing Diva Trisha who looks glam despite puffy eye-bags and tired looks, and a not so cute but taller than NTR Karthika. Does it all add to the magic of NTR? No, it fails miserably.


Reasons are manifold like root causes for food price inflation. A hackneyed story set in a village with two families who war with each other for generations. A screenplay that’s jerky, sometimes slow, sometimes fast, overall disappointing. Violence that is inescapable and unreasonable – even fans and Karate Kids and youth won’t clap for one scene of too many that gnaw your brain away. This madness has to stop one day and it looks NTR is still in no mood to wish violence away for family audiences who come to see his films. Characterisation that grossly under-utilises talents like Kota, Brahmanandam, Suman and Venu (“Hanuman Junction”). What redeems the film is the string of punchlines written by M.Ratnam - they may regale the fans for few moments but the excessive trappings of Balakrishna become too much to handle for NTR - he is not yet mature enough to handle such roles of "Samarasimha Reddy". Music by MM Keeravani is average. Only one song "Sri Sri Raja Vasireddy" evokes awe.

NTR definitely scores a fine performance with impeccable dialogue delivery, designer moustache and improved looks. But its unlikely this movie will be well-received by fans as there are too many flaws and inconsistencies that make it tortuously long in 165 mins. Almost every other hero – Nagarjuna, Prabhas, Mahesh, Allu Arjun – experiment with makeovers and crossover roles. But NTR still thinks his surname and family fan base will get him far notwithstanding weak scripts and incredulous storylines - which audiences in villages are also tiring of – two heroines, thigh-slapping, sickle head-chops, whatever. He is too talented for doing just Balakrishna remixes at his age – he can go very far with his “Dammu” if he leaves the beaten path of this “Dammu”.