"Vakeel Saab" (Telugu)

 

Worth the wait and an engaging comeback film for Pawan Kalyan. Not in the same intense class as the original “Pink” which was shorter by 25 mins, but well-adapted to suit the larger-than-life sensibilities of PK fans and his current political career’s work-in-progress. Director Sriram Venu drives the film in graded gears - establishing the plot of how working women land in distress and get out of it with belated but avuncular steering by Vakeel Saab Satyadev (PK), once he steps in rustic contrast, pitted against a sophisticated lawyer Nandagopal played by the mercurial Prakash Raj. Their rivalry, energy and sparring in the court, makes it the most riveting part of the film despite the strange goof-ups in cross-examination. Thaman’s melodious songs and his sonorous BGM score makes the narrative well-nuanced and memorable at times. Pawan Kalyan, undoubtedly, steals the show in the climax, aided by another famous performance by Prakash Raj, Anjali, Nivetha and a surprise cameo by Sharath Babu. Dialogues are sharp and contextually concise within the perimeter of the script. Proud memento film for producer Dil Raju to bring one of India’s most intense and meaningful film to the Telugu audiences, in reasonably entertaining and dumbed-down format about a film that redefined this generation how Indian society paints stereotypes of girls as “Pink” and boys as “Blue”. Watchable, though not with the toddlers - both for the theme and the expletives.

Rating: 3.5/5

#VakeelSaab #PawanKalyan #PinkRemake #PrakashRaj #SriramVenu #DilRaju #amazonprime #ThamanS

"Ok Bangaram" (Telugu)/ "O Kadal Kanmani" (Tamil) Movie Review

When it comes to romance, Mani Ratnam has an uneven advantage in making even the mundane plots dance on screen with unblemished technical brilliance and undiminished attention to the nuances of love. “Ok Bangaram” passes the test for Mani Ratnam  and it is no mean feat for one of the finest masters of Indian Cinema. He has made a memorable romantic movie in every decade since the 80s that gets burnt in our psyche. “Mouna Raagam”, “Gitanjali”, “Sakhi” and now “Ok Bangaram” joins that league. Even if the plot is not something unfamiliar and the treatment lacks wow factor at few places, the finesse of the film with all the visuals, the rich music of AR Rahman and the tracks between the lead pairs (there are two pairs in fact) transport you into trance. Roping in such technical stalwarts like PC Sreeram, Sharmistha Roy, Sreekar Prasad and Rahman, Mani can heave a sigh of relief that his product, after a long gap, will taste some success at the box office. 

Indeed the plot is mundane and much cited on silver screens - a live-in relationship between two mature professionals - Aadi  (Dulquar Salmaan) and Tara (Nitya Menen) who are spectacularly in love with each other while keeping an eye on their fledgling careers. Dulquar is a gaming guru who conceptualises  imaginative online games that rake in the millions and Nitya is an architect who is seeking her Masters in Paris. Dulquar stays as a PG with an elderly couple  - Prakash Raj and Leela Samson. Love grows between the two young pros with faultiness often arising from live-in expectations. It goes through a roller-coaster ride before a familiar climax with many moments of truth inspired by the geriatric couple of Mrs and Mr Ganapathy (played by Prakash Raj and Leela Samson). But Mani Ratnam doesn’t believe in a riot of love without a cause, so you see a romantic track with the duress of a success-seeking professional and the affections of your immediate family, however dysfunctional or the care of those who need. In 138 minutes or so, Mani Ratnam’s old magic of story-telling returns without any temptations of narcissism of the craft or visuals that rush up your adrenaline. With good screenplay, stunning visuals and a commendable starcast, the movie deserves a once-watch even if some familiarity with his treatment creeps in at many points. In many ways, the old film “Sakhi” still remains unsurpassed because of the beauty of a sober plot that has many uncharacteristic twists and pathos moments. 

Yet, “OK Bangaram” scores high because of the freshness of the pair. Nitya Menen takes the cake in the movie with an effortless performance that will win hearts, she is at once vulnerable yet measured, cute yet cold-blooded with her mother, innocent but also volatile in moods. Wearing dresses that she might wear on a day of no-shooting, Nitya strikes a delicate balance with versatility and grace unbelievable for a South heroine. The only thing that takes away marks in her performance is the  inconsistency in her characterisation; she first turns down a lover who is interested in her estate but with Aadi, she gets distracted all the time falling for the same tricks that she believes boys play before getting fresh with girls. Aadi, played by Dulquar Salmaan is exciting. The boy who won all the hearts in “Bangalore Days” is the most promising youngster that Mani Ratnam has re-launched for an audience far removed from Mollywood (Malayalam movies). Whether in control of emotions in love or losing it, in anger and poise, camaraderie at work or sympathy for an elderly landlady, Dulquer smarts ahead with a great show of talent - something that comes easily to him from father and superstar Mammooty. His characterisation is the most consistent and worthy of a protagonist coming of age. Kudos to Actor Nani for lending his inimitable voice to Dulquer in the  Telugu version. Nani’s voice has amplified Dulquer’s character for the masses - it is a great idea and a good sporting gesture. Normally, Aalap Raju or Srinivas Murty are the only voices you hear for all Tamil heroes in Telugu versions but this is a delectable experiment - must be at Dil Raju’s bidding who produced the movie in Telugu. Prakash Raj gets such a meaty role in this film, after “Iruvar”that he should thank his stars for a spotless role which will re-ignite his career in that space where he was virtually unchallenged. If Jayasudha stole the show in “Sakhi”, Prakash Raj did it in “Ok Bangaram” with shades of “SVSC” performance. Leela Samson gives a soulful performance as a lady losing her way in life with Alzeimer’s. Her lines linger on and give the depth to an otherwise elementary story. 

What endears the film is Mani Ratnam’s mature handling of the themes and visuals he wants us to go home with. He could have been tempted to show cliched scenes of fights to elevate heroism or sympathy to pad up the love story etc.but he shows great restraint by sticking to responsible and refined cinema. In the film, for example, the heroine’s mother uses her influence to subject the hero to police torture. Any other director would have shown the scene  - right from Shankar to Rajamouli but Mani dismisses it as an aside plainly told by the hero to the heroine, matter-of-factly. Similarly, a love story doesn’t fire up without a customary item song or a drunken scene or fights. Cleverly, quite deftly, Mani shows none of these banalities - instead, he uses the montage of the gaming animation to show stunts and other chutzpah - skip it or snooze, the story doesn’t jar you. Heroism for the heroes and glamor for the heroines - both these get redefined by Mani in the film, a lesson somewhere for master manipulators of emotions in Tollywood. It is good that successive failures and biting criticisms of Mani’s previous films have made him mellow in his love with the craft versus attempt to tell a good story. 

Mani has told a good story with a familiar message though - with conventional trappings and some deja vu moments of bitterness and celebration in love and life. But the effort shows and leaves you with a nice aftertaste unlike some of his forgettable films in the last decade. Helping him to get a breather again are technicians who worked closely with him in several films. PC Sreeram, that ace cinematographer proves  a nonpareil when it comes to catching fire with screenshots. This time, he choses Mumbai’s lesser-highlighted imagery - torrential rains, jerky rides  on bike, high seas of the Arabian Sea with up-close shots of the ships that keep a vigil on the coast at night and many other shots like that. Sreeram’s work is itself paisa vasool for the film and makes it above-average viewing. Of course, his lighting is legendary - and while he makes the lead pair sizzle in their chemistry and screen presence, he has highlighted the old pair in the moods that Mani wanted them to be in, Leela Samson’s shrinkage from a carnatic musician to a forlorn patient is captured well by Sreeram as also the shots in the trains in which lot of Mani’s films revel. AR Rahman’s music has been a chart-buster before the film released, now it will egg you on more since the film is a treat to watch. With nine songs rich in variety and orchestration, Rahman has given the season’s best songs and BGM. And Mani hasn’t fully done justice to their picturisation;  he hasn’t subtracted though from the music with his visual output. Visually, the song on the gaming concepts that greets you on titles has the raciest groove in the score. The carnatic  number sung by Chitra is the only song abruptly cut short by Mani. Otherwise, almost three or four songs which are good audio tracks are extended in the second half which increase the hummability of the songs. Songs by Rahmanand the music co-scored by Rahman and another troupe take the experience to a new high. Mani’s imagination is not commensurate with Rahman’s perceptible instrumentation reserved for “Mani Sir’s films”. The only song that stands out is the duet in the lodge in Ahmedabad where the young lovers feel the physical temptations of love but don’t give in yet. Dubbing-wise, you don’t feel this is coming from Tamil, the quality and the Telugu diction  is so good. Also, references to local towns and a couple of politicians make it credible. Sirivennala’s lyrics make the Telugu songs enchanting and classy compared to some of the hopelessly inapt lyrics penned in Mani’s previous films dubbed from Tamil. Instead of using words like “Gunde Kinda Needocche” and “Kuriseti Gadiyaaram”, Sirivennala uses lilting words which are also sensible. Dialogues by Kiran are in the same metric length of Mani Ratnam - crisp and business-like. Despite many moments where you feel the lag of a director who is not able to outgrow his favourite love scenes and hurrah moments, “Ok Bangaram” will get Mani’s fans happy again. Here’s a master who gets his mojo back. It is not brilliant and not the best of his movies - but he re-presents the timeless paradigms of skin-deep love for another generation confused in online chats and careerist obsessions with reinvigorated craft and squeaky clean touch of class. Watchable, for sure.

Rating: 3.25 / 5

#ManiRatnam #OkBangaram #OKadalKanmani #NityaMenen #DulquerSalmaan #ARRahman #PCSreeram #Tollywood #Kollywood #MovieReviews #DilRaju #PrakashRaj #Nani #OKBangaramReview 

"Ulavacharu Biryani" (Telugu)

Prakash Raj has a knack of picking off-beat stories and backing them all the way if there is striking point in them. Almost all his films produced by him in the past carry a subtle message with clean entertainment - "Movi"(Tamil) is about coping with challenges of mute and deaf people, "Aakasamantha" (Telugu/Tamil) is about the pleasures and pains of parenting and "Dhoni" (Telugu) captured the mood of today's  young who get sandwiched between parent pulls and youthful aspirations. "Ulavacharu Biriyani"(UB) his latest is a remake of Malayalam "Salt n Pepper". This is a film about lonely hearts and late-marrying men and women who delude themselves into false cocoons of achievement and inferiority complex at the same time while keeping good things waiting. I neither knew about nor saw the original film before watching UB. I watched UB for only one reason: Ilayaraja's music which already became a hit, I wanted to see if his BGM outscored his music in the film. I was not disappointed. More of that later, but short view first - it is a decent film with feel-good factor and terrific performances by the short cast - Prakash Raj, Sneha, Samyukta Hornad, MS Narayana, Tejus and Brahmaji. Worth watching once.

The story is about a foodie called Kalidasu (Prakash Raj) who at age 45 hasn't yet found a companion yet. His main interests are purely epicurean but for earning daily bread he works in the State Department of Archaeology where he works with a team in excavating relics of past and rehabilitating the tribals who live in forests. At home, he is helped by a cook MS Narayana who persuades him to get married. In one such meeting for a marriage alliance, Prakash Raj bumps into an old-time chef Brahmaji who makes delicious "vada"s for the bride. Prakash Raj dumps the prospect bride and returns home with his prized catch - cook Brahmaji. At work, his desire to do good to tribals makes him shelter an old tribal who makes herbal medicines - sought to be exploited by a mercenary businessman. So, it is now four males at Prakash Raj household. In fact, it soon becomes five people with the joining of Prakash Raj's nephew Tejus who comes looking for a job in the city of Prakash Raj. On the other side of the same city, a beautiful-but-aging lady Gowri (Sneha) lives with her sister Urmila and her gang comprising of her transvestite helper and niece (Urmila's daughter) Samyukta Hornad. Sneha is a successful dubbing artiste for film heroines but she is still struggling to find her soul mate. Pressure mounts on both of them to find a suitable match. Call it syncrocity or coincidence, a wrong number dialling by Sneha seeking an order for Kutti Dosa lands on Prakash Raj's mobile. First fire, and then roses all over, sweet small talk leads to mature blossoming friendship. Will it convert to love and marriage? How do two successful professionals who are in their late 30s/40s find their mojo in life - in the sweet companionship of a soul-mate? Are there any hilarious twists? Or a twist in the tail? Watch UB for all of that. In 126 minutes, Prakash Raj has given a watchable narrative thats remarkably clean, straight and fresh. 

The only incomplete chapter is  the troubled lives of Adivasis which are exploited by profiteers in the name of development. Despite an intense-looking characterisation of an old tribal, Prakash Raj lets go a great opportunity to create some drama or infuse more perspective on their plight. All we see is a fierce-looking old man who squats or stands for hours vehemently defended by Prakash Raj but meekly surrendered by him when confronted by human right activists and policemen. If this sequence couldn't be climaxed well, the film's length could have been 15 minutes shorter and that could have been another miracle for an otherwise good film - it could have breached the 2-hour limit for a feature film - a feat that is now regularly being attempted by film-makes in Kollywood, not Tollywood.

Technically, the film stands out in cinematography and music. For a film of this kind emblazoned by the orchestral magic of Ilayaraja, Prakash Raj uses safe distance picture shots avoiding any close-ups even during the most intense moments of the film. That is a rarity these days, when cinematography doesn't dominate direction but rather the eloquence of the music director and the minimalistic intentions of a director call the shots. The titles of the movie scroll in the backdrop of a Kailash Kher song with great original shots of the best street--side food and restaurant food available in India. There is another song shot on the youthful pair of Tejus and Samyukta which show them at their vivacious best using a mixture of natural and golden glow color frames. The cinematography's work aces up in one of the most memorable reels of the film - where Prakash Raj gives out a recipe on phone to Sneha. The recipe called Joanne's Rainbow Cake has been well-shot with Ilayaraja scoring classical music - a slurrpppingly delicious cake with layers of strawberry, pista and orane, made simultaneously by both the narrator and the listener on phone and then the first bite into the cake by both the creators at their respeective ends - it will give any foodie a melting memory. Dialogues are also crisp and urban-cool -wonder why we can't have more of these in our films rather than those elephant-and-mice-and-tiger-likening one-liners.

If the film is enjoyable despite some lazy editing and laid-back screenplay by Prakash Raj, two-thirds credit must sit on the shoulders of Maestro Ilayaraja. Apart from original compositions for the soundtrack of the film which bought him as much fame as "Yeto Vellipoyindi Manasu" in recent times, Ilayaraja has given a great BGM score that will flood the youtube channel soon after the prints get released. Obviously, it is the luck of Prakash  Raj for roping in a heavy-weight name like Ilayaraja. Until "Dhoni", Prakash Raj always had Vidya Sagar score music for his films. Vidya Sagar is himself a gifted composer trained with IlayaRaja. In this film, Prakash Raj must  have given a free hand to IlayaRaja and it shows in the soulful re-recording. The entire film is masterfully punctuated by Ilayaraja and he uses different variety of instruments including vocal support to give one of his best shots. Except for Sneha and Prakash Raj, Ilaya Raja uses BGM for introducing the second youthful romantic pair as they appear and also when they meet for the first time. Then at every crucial juncture, he uses pulsating instrumentation. His music reaches a crescendo in one of the climactic points of the film where all the four lead characters travel in the same car - Ilayaraja uses high notes using extensive violin orchestration, something that would have required a huge budget. Ilayaraja fans will remember that there were few times in his career where he used elaborate multi-crew orchestra for composing music when it demanded - one was for "Dalapathi" and the other for "Yeto Vellipoyyindi Manasu". This must ave beeen the third occasion. Not surprisingly, I checked up with "Salt n Pepper" music director Bijlibal. Ilayaraja didn't even see the original film once to get inspiration for composing the songs and the BGM. Imagine the outpourings that come from ordinary souls when they see a scene of 4-5 minutes, bland without music. Now imagine Ilayaraja looking at a scene only once, making some notes in mind, going to his music room, dictating the musical notations  to the crew for what to play in the background and creating the magic that we aall see. This is exactly the process that Baradwaj Rangan described in his book of interviews with Mani Ratnam as to how Ilayaraja composes music. I am not surprised by the high-octane quality of his BGM in this film. Ilayaraja must have composed around 5 songs per film in a career composing 900 films plus - including original and dubbed films. But he has never relegated the job of re-recording to lackeys or assistants except on few instances. Now imagine the sheer magnitude of the output with the BGM output that comes with equal combinations of energy, velocity and melody - at an average of 900 films multiplied by 10-20 orchestration pieces. Lets settle at 15 pieces per film. Thats a staggering 13500 pieces of original, song-ready musical pieces  that may never be surpassed in quality and the language of film grammar, mastered by few other Western Masters. Hat-tip to you, Ilayaraja Sir for all that and for this film's output.

Finally, back to the film UB after that lengthy excursion on Ilayaraja (I owe myself a lengthy dissertation on his music one day). Good performances by MS Narayana, Prakash Raj and the newcomers. Sneha is good but sulky throughout. UB is a worthy watch even if you are not a foodie or a culinary expert or an expert on marriage- it connects with a lot of people on the planet who live lives of solitude or eke out their existence desperately seeking soulmates at work or neighbourhoods. Despite the few flaws of an elementary story and a slow narration,  the film doesn't bore.  If you do not like it well enough, blame it on the zombie films that are deadening your sense of good  and meaningful cinema. This one is definitely good and meaningful. More power to them. 

My rating: 3.25/5

"Manam" (Telugu) Film Review

"Manam" is a beautiful film -  a flowing tribute to ANR and his lasting legacy. In the works for over two years, the film was making news for many happy reasons until it became clear that this will be ANR's last screen appearance. Directed by Vikram K Kumar ( "Ishq" fame) and produced by Reliance Entertainment, the film has all the elements of a sugar-syrup family comedy with minimum distractions. No villain, no side-tracking comedy and no vulgarity - it has a stamp of class and well-directed sweetness all-round. There are not many families in the Indian film history which had the luxury of appearing on screen in all the 3-G glory. The last time such an act was performed, according to me, was "Kal Aaj Kal" (starring Prithviraj Kapoor, Raj Kapoor and Ranadhir Kapoor). Now, it is the turn of ANR, Nagarjuna and Naga Chaitanya to give us a magical story of improbable origins.

The improbability is the only weakness in the plot - where Nagarjuna is the son of Naga Chaitanya and Samantha and ANR is the son of Nagarjuna and Shriya Saran. How these five people you will not otherwise meet in heaven actually get enmeshed with each other's lives in a cute inter-mixing of two love stories spread over two generations is the bone of the matter. Beyond this, it would be puerile to elaborate the story as it may snatch the thrills of watching a clean film not seen since  the likes of SVSC. The implausibility of the plot is tolerable as today's films have more illogicalities than the subtle cinematic liberty taken by the story-writer of this plot. So the illogicality is passable in the name of delectable entertainment that the film offers.

What are the highlights of the film? Undoubtedly, the scenes between Nagarjuna and Samantha as some of the best supermom moments get unfolded on screen in a rarely seen combination. Then the scenes between ANR, Naga Chaitanya and Nagarjuna - the drinking scene, even if slightly overdone. Then the delicate scenes between Nagarjuna and Shriya in the rural backdrop where bucholic charms haven't erased the purity of some souls. Finally, the roaring screen chemistry between Naga Chaitanya and Samantha for the nth time which makes the film youthful. Performance-wise, Naga Chaitanya gives the best shot amongst everybody as he shares screen space with Nagarjuna and ANR for the first and last time. This is his film, not really Nagarjuna's or ANR's. Samantha and Shriya get their sunshine moments and naturally have a blast. Nagarjuna looks old but carries himself better than some of the commercial roles we are used to seeing him. He should quickly migrate to being part of more such meaningful cinema such as "Manam". ANR is seen for less than ten minutes but by making a delayed entry minutes before the interval and staying the course right till the end, he gives out a dignified performance before he bowed out. Director Vikram used the limited availability of ANR's footage deftly by spacing him to re-surface again and again until that last shot of his where he smiles and waves you goodbye.

Whichever way you look at, "Manam" is a terrific film to watch that doesn't bore you despite the over-extended goodwill messages and sweetness. Infact, the emotions in the film choke you at times and remind you of the beauty of life and the miracles that pour out of love of all kinds. Vikram Kumar is quite a talent in the way he used a venerable starcast including Brahmanandam and MS Narayana. After a long time you get a feeling of confidence of a director in showcasing his mastery with a clean narration, good performances and messages that won't embarrass you in front of your mom. Except that little cheeky jingle of why we say "ladies first", nothing is offensive in the film. What makes the film different is the treatment of the story playing out between different generations of characters and the quality of output. Music by Anup Rubens, his 25th musical score deserves a high five. All the songs are exceptionally peppy and melodious. By using three different scores for each generation of Akkineni family, Anup Rubens has shown he has a talent for matching  song composition skills with a standout BGM. The director's class also shows in his selection of team in dialogues, cinematography. Vikram Kumar sure has a fresh mind that needs more backers  - how he thinks in telling a good story better is a case study. One example, in the song "Ta...Taaa....Tatta Tattaa...." which has Nagarjuna and Naga Chaitanya shake a leg with the old clippings of ANR song, any other director could have used an item girl to add to the stomping on the floor. But by not going for the predictable, Vikram proves he is different. More power to such directors and cinema. In many ways, Vikram's style of commercial cinema reminds me of the class of Radha Mohan, the Tamil director who made many successful films for Prakash Raj.

You wished the film's length of 163 minutes were cut down but I sense some scenes of ANR were not possible because of his passing out so they had filled in with other stuff. Good to see Amala and Akhil get roped in this family drama for the records. Akhil's entry in the end gives an inkling he will also join the family business soon. No less a person than Amitabh Bachchan did a 45 second cameo as a tribute to ANR. What a way to finish off a glorious career! In as much one feels compel to judge a film, "Manam" has surprisingly few shortcomings - which I have already qualified. You will walk away with many good feelings after watching it.

My rating: 3.5/5.

"Race Gurram" (Telugu Film Review)

"Race Gurram" has come in the middle of a season that is seeing the race of our lives in election.  Directed by Surendar Reddy, "Race Gurram" gets off to a good start  but in the bid to make a blockbuster, Surendar Reddy errs on the heavier side of entertainment with too many twists in a bizarre tale that takes your head for a spin especially in the second half with logic and sanity hit out of the park. 

The story casts Allu Arjun in the title role, which means a horse trained to compete at races. But there is no justification of the title except a footage of horses at the outset and towards the climax besides a cursory mention of the qualities of horses and horsepower. The plot is about two brothers, Ram (Shaam) and Lakshman (Allu Arjun) who grow up teasing and fighting with each other, developing a strong disaffection to each other. Shaam becomes a cop while Allu becomes a vagabond. As their animosity grows stronger, Allu falls in love with Shruti Hasan who keeps her emotions masked under a tough-looking demeanor. Shaam, in one fit of a rage to level the scores with his brother needles his love story with dire results. As a tit for tat, Allu levels scores by hoodwinking his brother  about to nab gangster Siva Reddy (Ram Kishan) with solid evidence before Siva Reddy files his nomination papers for MLC. Allu lifts the police jeep and speeds away with the file unbeknownst. The villain Siva Reddy, having got wind of Shaam's intentions to nail him sends a task force to polish him off but alas, the jeep has Allu, it gets pulped by the villain's gang and thrown into the valley. Allu survives the ordeal and decimates Siva Reddy after hearing of his plot to actually kill his brother. Suddenly, Allu undergoes a paradigm shift that starts a series of confrontations with the villains. The second half shows the massive confrontation between the family of Siva Reddy and that of Allu Arjun that ends with agonizing twists and mind-numbing   concepts liberally followed from films like "Kick" (director's own),"Oke Okkadu", "Singham" and "Arya-2". 

The fundamental flaw that may go against the film itself is the story of confrontation between two brothers which is anti-sentiment. Both brothers go to any extent to undermine the other and this goes on since childhood with parents remaining mute spectators. No film with screwed up sentiment like this has ever succeeded. (Examples, "Chennakeshava Reddy", "Brothers"). Even if Ambani brothers compete with each other, they are doing it in separate homes, never under the same roof. Dragging this sentiment further, director Surendar Reddy introduces a twist before interval block of Allu waking up to the basic DNA of his brother and aligning himself with Sham to fight the villain. The story of the  brother, being a senior cop, unable to dote on his younger brother is quite a flaw that hampers the feel-good sentiment even as the narrative moves at break-neck speed. While the entire story can be summed in three lines - two brothers fighting, cop confronting a criminal and the younger brother also joining the fight, Surendar Reddy builds fat tissue after fat tissue in building the narrative, elongating the sequences and getting sloppy comedy that enumerates a jumbo starcast. 

The starcast has Shruti Hassan as Allu Arjun's love,  Prakash Raj as Shruti's father, Ram Kishan, Mukesh Rushi and Kota Srinivasa Rao as villains, Shaam, the cop in "Kick" playing again as a cop and also Allu Arjun's brother and three ace comedians, including Brahmanandam, Jayaprakash Reddy,Ali and MS Narayana besides new-age comedy artists. There are too many distractions in the narration of the main story which make it tedious despite a whole-heartedly valiant attempt at making a blockbuster. The trouble is, when you set out to make a blockbuster, you should have checked if there are too many blocks to bust your film's chances at box office. Surendar Reddy missed wholly in this giving a free running time of 163 minutes to cover five songs, repetitive run-ins between the brothers, a comedy track with Shruti Hasan in a romantic setting and the cliched introduction of Brahmanandam as the supercop who will bring down the house of the villains, the film travels at a velocity that will gradually numb your senses in the second half.

Shruti Hasan gave her dumbest performance in years despite looking demure and cute in songs. Her role of a girl who conceals her emotions is apt for her insipid acting that oozes mannequin beauty without substance. Prakash Raj and Shaji Shinde bore you with their trite antics. Shaam comes out good in his role as the cop even if its a leaf out of "Kick" performance. Bhojpuri superstar Ram Kishan steals the thunder as a villain with comic timing. Brahmanandam tries to get the biggest laughs, he almost succeeds but how long will his stereotype magic work - the kind of role that comes in the wee minutes of climax and knocks the socks off everybody including the hero and the villains? How long will heroes and directors let him ride out this sucker punch comedy that has become staple fare? The nation needs to know!

Allu Arjun is a high-calibre star who has earned the spurs of a Style Icon with a wonderful mix of attitude, hardwork and impeccable behavior. He has also delivered cinema that moves the needle of content towards different genres and acceptability beyond the borders of Telugu Cinema. As a package of dance, metrosexuality, presentability and personality projection, he is a case study on how one can get catapulted into supertardom without conventional good looks and low-timber voice. With that kind of halo, Allu Arjun has done well in the film by himself. There are atleast three scenes where his words spell magic on screen. He emotes fluently and delivers a knock-out performance in all scenes, dances and stunts. Perhaps, with an eye on the growing Malayalam market, Allu also uses a heavy drawl in accent to emphasise words like "Devudaa" differently which gets good laughs throughout his utterances. 

But for that, and a few good laughs, the film falls short of a supergood tag because of hopeless editing, zero attention to logic and consistency and silly comedy in the name of entertainment. If the film is cut by 35 minutes, it would have been a different experience, to cut a long story short. The film is watchable once but only for a while after interval. Music by Thaman is peppy and catchy but the picturization disappoints except in "Gala Gala". This may not be Allu Arjun's worst film but this is not his best. Surendar Reddy's direction has energy but it is time for him to take a calorie count on how much of it is needed to collapse the genres of entertainment with that of action and comedy. He has failed with "Oosaravalli" and "Athidhi" and "Ashok". It's time to go back to the basics of unhurried story-telling. Despite the highs in the film - the dialogues of Allu Arjun, the heavy starcast, the clean comedy, the new villain, the lows of the film outnumber - the length, needless scenes of sibling rivalry, Brahmanandam ad nauseum, bizarre twists that are completely irrational, overdose of everything, the film deserves a rating no more than 2/5.

"Dabangg 2" Hindi Movie Review

“Dabangg 2” has come right on the day the world is supposed to end according to Mayan calendar. It didn't end, the world is as bad as before and “Dabangg 2” is as boisterous and larger-than-life as “Dabanng”.  Salman Khan comes with another paisa vasool film that will give the year the smooth velvet touch that has given him the megastar boost.  Dileep Shukla, the writer who collaborated in the first film with Anurag Kashyap’s brother once again penned the story with  better emotional appeal. Arbaaz Khan a.k.a Makkhi Pandey is also the director as the original director has fallen out with the House of Khans.

The movie’s length is a miracle for a Superstar film. In 128 minutes (and this includes the four minute statutory tobacco warning insertions), “Dabangg2” sizzles well especially in the first half. The story takes off just where Chulbul Pandey polishes off Chedhi Singh at Lalbagh after Chedi kills the former’s mother. Now, father Vinod Khanna and Makkhi Arbaaz Khan stay together with Chulbul Pandey (Salman) and Sonakshi. This time, its Kanpur, the Hindi heartland and the new villain is “Baccha Bhaiyya” (Prakash Raj). Chulbul being the eccentric cop with a “Dabangg” attitude, he needles the Baccha party gang of brothers enough to pick up spurs. Friction between Chulbul and Baccha builds upto bloody fights and finally the triumph of the  supercop. And of course, lots of queer comedy, Machiavellian punch lines by Chulbul, sweet romance with Sonakshi Sinha and atleast four to five incredulous fights – fights that define the superhero grade in Bollywood. On the whole, a watchable film except for a weaker second half where the climax wears off weak and soon.

Salman Khan is undoubtedly a treat to watch and has to be credited with the hugely successful characterization of Chulbul Pandey as the uber cool, super fit, wisecracking, omnipotent supercop that appeals to the rustics and the metrosexuals in multiplexes. Salman Khan has hit a purple patch in making hit films that are airlifting him into dizzy orbits out of the reach of other Khans and Kapoors. He acts in about three films every year of which most of them are remakes of  Tollywood/Kollywood superhits. And then came this homegrown lovable characterization of Robin Hood Pandey of “Dabanng” with a classic three-act model but told with an uncanny appeal intermixed with elements that the Hindi heartland folks go bonkers over. Whether it is twisting the belt buckle around the abodomen or whistling on the streets or dancing in satin shirts sans police uniform in the middle of the road, or giving cavalier repartees to the villains who try to bully you – Salman Khan has created a body language unique and machismo-enhancing of “Dabanng”.  It has all the unique elements of a super brand that has entered the second edition so  far but valued at the most ever – Rs.180 crores. That’s still a bit closer to what an average Animation movie in Hollywood budgets at but still “Dabanng 2” sizzles most of the time and doesn’t disappoint overall. When it doesn’t is when Prakash Raj looks less menacing because he hasn’t used his original voice, when the fights are too many and too long and when producer Arbaaz Khan tries to kick-ass himself.  We have to realize that all homegrown brands eventually come into their own making despite shortcomings in logic, pattern, capabilities and characterization.

“Dabanng 2” also has got some great star cast and solid performances by almost everybody. Vinod Khanna tries to redeem his characterization with some comedy, and then there are junior  and senior police colleagues to Chulbul who impress with their comedy timing. Sonakshi Sinha doesn’t dither a bit from her self-contented homemaker looks, her role is neither extra large nor refreshing as in the prequel.  “Gabbar Singh” was a successful remake of “Dabanng” but had few scenes which were reportedly bought by the makers of “Dabanng 2”. One was the Anthakshari scene which was a rage in Telugu and the other was a short scene where the policeman asks his wife not to pick up stuff for him because he believes she is not a doormat or a maid servant. As if to answer some of Salman’s strongest critics who label him as a chauvinist, Salman picks this scene straight fromj “Gabbar Singh” but drops the Anthakshari scene of singing with the criminals in Thane. That could have made a difference in second half where entertainment almost falls flat. What redeems is the breezy item song with Kareena Kapoor  “Fevicol”. Thats one heck of a number and the “Bodyguard” girl decks it up well.

Music by Sajid-Wajid and BGM by Sandeep Shirodkar are good and suiting the grammar of “Dabanng”. Music played a big part in the first part and here too, the BGM score must be a case study on how to elevate a superhero’s antics into a cult status. Dialogues are the most exceptional since whoever wrote for “The Dirty Picture”  or “Gangs of Wasseypur”.  Only those who understand Hindi well can make out except for the simple ones like “Kungfu Pandey” etc. Maybe that’s why Prakash Raj who created a laugh riot in “Singham” with his inimitable voice did not  dub his own voice. On the whole, Bollywood has got its own brand of franchisees which are surpassing Box-office takings while encashing on the mounting global appeal – “Dhoom”, “Gol Maal” and so on. “Dabangg 2” is a worthy sequel to a delightful homegrown superbrand because it has redefined Box office magic. First time, it was a sensation but this time it left a lot to be desired though, especially in the second half. For that and for the reduction of the villain to being just another piece in the Salman Khan police story from Khadi to shirtless stage in 128 minutes, it deserves 3 out of 5 – but not a point more.

"Shakuni" (Telugu) "Saguni" (Tamil) Movie Review

“Shakuni” is an interesting title of Karthi’s new film named after the most interesting character in Mahabharata. Despite being a dubbed film (“Saguni” in Tamil), it was  marketed well by Telugu producer Bellamkonda Suresh and generated quite a buzz before other big releases lined up like “Eega” and “Julai”. Its worth the excitement and hype – “Shakuni” played by Karthi, is quite a combination of a convincing political thriller and a light-hearted comedy with romance getting short shrift.

Director N Shankar Dayal creates a credible story that has many layers, backs it with a racy screenplay and great characterizations. Just like Shakuni who, after being wronged by Duryodhana befriends him and eventually brings him to a war that destroys him and his clan, Karthi plays the role of a modern Shakuni. He takes a different path to dethrone Prakash Raj. But why? His only asset is an ancestral home that is now under threat of getting demolished due to a metro rail project awarded to a protégé of Chief Minister Prakash Raj. Karthi seeks the help of the CM but gets shunted out. He then realizes like all voters who vote for cash/expectations that its time to change the king – he pushes one pawn after another, motivates an auto-rickshaw fleet owner (Radhika) to become a corporator and eventually a mayor, then moulds a roadside soothsayer (Nazar) into becoming a Billionaire Godman (he funds the elections) and finally, resurrects the fortunes of a jail inmate in Chenchalguda (rings a bell?) - the inmate (Kota Srinivasa Rao) builds new cadre, fights the elections to defeat Prakash Raj and becomes the new CM.

The transition from a helpless youth to a master strategist in the political affairs of a state is essayed brilliantly by Karthi. As a brother of Super Star Soorya, he hasn’t got much to prove so far with films smacking of off-beat love stories and tribal roles but this movie shows him in better light. He uses his confusingly crooked smile and  confident screen presence with great effect. A role to remember for Karthi; Telugu dubbing in his own voice will endear him more to the masses and classes. A role that runs parallel to him throughout the movie is that of popular Tamil Comedian Santhanam – he is so under-stated, mellowed, raunchy and yet classy – unlike what we associate with Tamil comedians. This must be his finest performance till date. Kota Srinivasa Rao outshines Prakash Raj, and similarly, Radhika outclasses Nazar. Praneetha has got good screen presence but has to improve her looks, heroines have got to reduce the glare of their eyes if they have to connect with the masses.

GV Prakash Kumar, surprise, surprise, creates pleasant music in the film as well as above-par BGM. If the movie becomes a hit, I am sure it will be remade in Hindi, the plot is so irresistible and contemporary with most of its punctuation playing out in our political circles. Dialogues are terrific commentary and have the sharpness expected of a political thriller without being over-the-top. Even though 158 minutes is unusually long, the momentum gathered after the first half do not make it seem arduously long. If at all, the first 30 minutes could have been trimmed; Director tried to create a thin romantic track that is almost invisible in the drama of the politics that engulfs the second half.

After “Rangam” last year, I was quite excited to go for this movie and feel it’s a fine effort worth the time. Such films come but rarely from Tollywood directors – they rarely make story the real hero. This is a wholesome family fare.