Sankranti Movie Ratings (Telugu) "Darbar"/ "Sari Leru Neekevvaru"/ "Ala Vaikuntapuram lo"/ "Entha Manchi Vaadavura"

Sankranti films are always special. And I have seldom missed in the last twenty years. Didn't have the time to review in detail, though because reviews hardly matter for Sankranti releases. You will somehow watch with your gang of birds flocked together in urban or rustic settings. But I will give my strong opinions (as strong as ever) if it still counts:

1. "Darbar" (starring Thalaivaa Rajnikanth)...Telugu

Average film with below-par story and straight narration by AR Murgadoss. We expect nothing but mediocrity from Rajni and yet fall for his swagger and mechanical drills but are more harsh in our expectations when it comes to other Tamil Superstars like Kamal Hassan, Suriyaa or Vikram. It seems to get incurable and hopeless with each passing year for Rajni except last year when "Betta" had electrifying Rajni effects.

Rating: 2.5/5

2. "Sarileru Neekevvaru" (starring Superstar Mahesh Babu)...Telugu

A routine story with high dose of entertainment and commensurate performances by actors alongside Superstar. Notable are Prakash Raj, Rajendra Prasad, Rao Ramesh and Vijay Shanti. Rashmika is cute but over-the-top in the movie with her ibby-jibbies. Highlight of the film is Mahesh Babu's out-of-comfort-zone acting and body language that reminds you of films like "Khaleja" and "Dookudu". His characterization is also refreshing as to how a soldier would mend civilians losing their civic sense and sense of civilization. If only he allowed more space for etching out Vijay Shanti's character, the film would have gone to another level. But the soldier's take on society is both pleasant and rapturous thanks to Anil Ravipudi's directing. Despite the film moving on predictable lines post-interval, his clarity and grip on what he wants the audience to take away from the film is complete. Tamannah Bhatia gets the most flattering item song for any item girl in the industry so far. Length could have been shorter by 25 minutes. If there is anything for Mahesh Babu to consolidate his position, he should reduce focus on his good looks and screen time and invest in better and more interesting stories. Yet, 169 minutes is mostly watchable once.

Rating: 3/5

3. "Ala Vaikuntapuramlo" (starring Stylish Star Allu Arjun)...Telugu

Trivikram created an entertaining narrative of 165 minutes about a theme stealth-borrowed from an old Telugu film classic starring NTR and R Nageshwar Rao "Inti Guttu". He re-interpreted the film for the new-age audience well but there are fatal flaws in the film which are not discernible to the audience. Yes, you can ignore baby-swapping as a doable crime 20 years back. But Trivikram who defends middle-class moralities and lectures on their upkeep has created a story which has faultiness on middle-class morality. Firstly, no middle-class father foregoes his baby boy to enter a billionaire family so he may get ahead in life and riches. Secondly, no adopted son disowns his past upbringing to crave for a billionaire's mansion at the very moment the secret unfolds. Thirdly, it is irresponsible on Trivikram's part to paint the picture as rosy as a "Lion King" destiny in picturing Allu Arjun's moment of destiny just like in Walt Disney tale where a baby Simbha learns that his blood is leonine and hence cut out for bigger things like ruling the kingdom. Yes, blood is thicker than water but in reality your upbringing and environment makes all the difference in how you shape your daily moments and destiny. In characterizing the contrasting roles played by Sushant and Allu Arjun, director shows as if none of the inputs or parental guidance provided by either set of parents has any bearing on the way their personalities are shaped. This is ridiculous and self-perpetuating myth which only leads to inequalities in society. The most famous case is the "Nobel Prize Winner Sperm Bank Experiment" where someone thought it is best to impregnate as many women with the sperm bank of Nobel Prize winners so that mankind will get more geniuses like Nobel winners. Trivikram's thesis in the movie is that outrageous and preposterous. I am appalled that along with many other flaws as pointed earlier, it is middle class audiences who are raving about the film as a cult classic. Nonsense. Despite that, the film is carried entirely by Allu Arjun with a never-before performance that stands out in all departments. Thaman's BGM and musical score are also a stand-out; his transformation from copying fast-track western albums to creating new sounds with refreshing mix of traditional and western instrumentation is the story of the last three years as to who is ruling the sound waves in TFI. Stunts are always creative in Trivikram's films but when you are surrounded by so many bashers, how does anybody get so creative to wield a woman's dupatta or a car windshield to polish off the villains beats me! Entertainment quotient is high though comedy content is low. What disappointed me is lack of clarity in Trivikram's taking in the film right from points mentioned above to Murali Sharma's unrepentant characterization. At least a minute out of the 165 minutes could have been taken to round off Murali Sharma's litany of crimes. Watchable once.

Rating: 3/5

4. "Entha Manchi Vaadavuraa" (Starring Kalyan Ram)...Telugu

Vegesna Satish comes with interesting concepts that hold some message for the new generation drifting apart from the world we grew up in the 60s and 70s. This time he comes with a theme of filling the void left by growing generation gap in our society. Like buying bottled water and twiggy-ordered food, he builds a beautiful plot around hero Kalyan Ram and his fiancé Mehreen. Kalyan sees every family has an emotional bond missing with the loss of a dear one be it a grand-father, son, sister, daughter or an aunt and so he sets up a company which "leases" the missing kin until the emotional needs are fulfilled. It is a slow narrative of 144 minutes with only three songs but content is unique and layered with good performances by hero and heroine besides a galaxy of vintage actors like Annapurna, Suhasini, Sarath Babu and Giri Babu. Like "Shatamaanam Bhavati", Satish has a knack of presenting relevant messages to keep our social structure intact in the wake of increasing nuclearisation of families and isolation of the elderly generation with the dawn of new technologies and general apathies. It is tough to expect jazzed up entertainment in this kind of narrative but if you are patient for the first thirty minutes, you will get some moments of epiphany in the film. Music by Gopi Sundar is outstanding. Watchable once with the elders.

Rating: 2.75/5

#Darbar #SarileruNeekevvaru #AlaVaikuntapuramlo #EnthaManchiVaadavuRaa" #SankrantiReleases #SankrantiMovies

Sankranti Superheroes of Tollywood: An Analysis

https://www.telugu360.com/the-sankranti-superheroes-of-tollywood/

"Yevadu" (Telugu) Film Review

RamCharan strikes back. And he strikes gold with a sure-shot winner in "Yevadu" - a high octane commercial potboiler from Dil Raju. "Yevadu" has been the most-postponed film in recent times and with the release syncronising wih Sankranti today - his film might fare better with the festive audience longing for family drama and simple entertaining fare. Is the film different? Not different from the commercial fare - same old stunts and bone-smashing violence, item girls and cussed duets with cute girls. Infact, the film is longer too with 166 minutes of typical masala fare with a surfeit of villains  - Saikumar, Kota Srinivasa Rao, etc. Then what makes this watchable. Its the plot with a unique cinematic twist that comes in the first half hour and then again at interval block. I do not want to spoil the fun for your viewing experience by telling you the story. But suffice it that, Ramcharan takes off after half hour with a trail of sequences left by the other cameo star Allu Arjun in combating regular villains until a routine revenge drama takes over. 

Director Vamshi Paidipally weaves a simple story with a Shakespearan twist which gives an excitement in watching. Intermixed with loads of comedy from Brahmanandam on lines you have seen him before, the film takes off with good narration, characterisation and screenplay leaving the hero without any romance in the first half. Infact, much of the romance is on the side of villains with a new girl before Shruti Hasan takes over in second half. It is quite a typical commercial fare but novelty in treatment makes it eminently watchable. I believe the storyline with a twist is invested into by Vakkalanka Vamshi (the effervescent ETV newsreader of an era) and director Vamshi. Music by DSP has been the most hummable in this season and atleast two songs are chart-busters already. BGM score amplifies the emotions and the peformances well. 

Allu Arjun and Kajol Agarwal create a looming presence for themselves by selecting a role that gives them their own space in a film dominated by Ramcharan and Shruti Hasan. Dialogues are quite classy even if they occasionally hark back to vainglorious family fame. It is the violence that makes you squirm which doesn't usually have Dil Raju's sanction as he prefers everything toned down to family melodrama. First half is better than the second half because of tighter grip on narration and screenplay. Since everything adds up to the climax in the second half, director had brought in lot of elements and formula points for Ramcharan fans post-interval. That gives you some predictable and boring moments. If Tollywood continues to make films in this format, it may not get us anywhere in creative highs, but it will continue to ring in cash registers. Ramcharan improves his poker face and looks tidier and portly. He dances well and sustains himself in both the flashback and the first half. He doesn't grade his storylines well enough to select different films and infact uses regressive methods to taste success at Box Office like use of excess violence,  old comedy fare, over-mention of family tree and dynasty, and tried emotions. This time, the elements of family drama, revenge, emotions of mother-son sentiment and power-packed action with a unique twist could ensure a sustained run at the box office for "Yevadu". It should be the first hit of 2014 and could wipe out the deficit of the ten-odd films released so far. My rating for the film for its surprise thrill and watchability despite cliches is 3.25/5

Film Production Costs and Satellite Rights of Movies

"Businessman" is releasing on 13th and "Bodyguard" on 14th. Good for both. But there's a new twist in "Businessman". For the first time, it seems, the satellite rights of "Businessman" are sold on a revolving basis instead of being sold for a longish period of 5 yrs or so. This time, Puri Jaganadh, the maverick director who worked non-stop for 77 days schedule of the movie has done what smart Bollywood producers are doing. He bought the satellite rights of the movie for a whopping Rs.7.7 crs - Rs.5 crores as his remuneration for the movie (Wow!) and Rs.2.7 crs. as "Eduru Katnam" making it an unheard of figure for satellite rights for any Tollywood movie. For the first round of limited period - MAA TV gets the rights. Interesting times for Tollywood producers and directors - satellite rights are fetching good monies.


"Sri Rama Rajyam" has fetched its benevolent producer Saibabu Rs.4.50 crs. and so on. In times of yore, you had none of this - I remember once "Shankarabharanam" producer Edida Nageswar Rao was flying with me - and he told me that most of his classics were sold to SunTV for a song - as long as Rs.5 lacs or so. Times have changed and even Directors are thinking like a "Businessman"!

The onus shifts to Satellite TVs to make money - MAA TV holds the rights of almost all the top ten all-time grossers of Tollywood in the last five years, Gemini and Zee come up with occasional movies which get the eyeballs still, while ETV goes for the ever-green mix of vintage movies with high family entertainment. I was once educated by a Respected Media Advisor on how TV Channels like MAA TV made huge money by betting on movies which nobody guessed would become "multi-baggers" like "Pokiri" and "Simham" - that is what I call scientific betting. But when the stakes get higher like Rs.4 crs to Rs.7 crs. it becomes difficult to make money unless you show the movie atleast 20 times within the period the rights are bought for - say, five years and so on.

There is another game in this whole buying - and most often, it appears to me, the smart producers and directors will create a story to pump-prime the winning bid. They will say, "this movie cost us Rs.40 crs." It will not always be true. OR, it will be hopelessly true sometimes. For example, in "Srirama Rajyam" movie, the opening shot of the movie shows Rama and Sita ushered in at Ayodhya with flowers. That shot - remember? Originally, Bapu Uncle wanted rich quality flowers costing Rs.5000/- for them. Producer SaiBabu wass not available on the shot and the Production Controller said "Sorry Sir, that is not possible because we dont have sanction beyond Rs.500/- for this shot." Bapu Uncle said, "Okay, whatever, let us have it for Rs.500/-". When the director and the producer were reviewing the shots, Producer Saibabu wanted a richer look for the shot and asked Bapu uncle why costlier flowers were not used. Bapu uncle said, "Your man didn't allow us to buy costly flowers so we made do with flowers worth only Rs.500/-only. But we can digitise the effect to reflect higher quality." Saibabu gave a go-ahead. The final bill - from what should have been Rs.5000/- for flowers came as a shock to Saibabu - it was Rs.5.96 lacs!

Whose fault is it? Not Bapu Uncle - he is known for strict budgeting and cost control. It was the mistake of the Production Controller who should have checked with Executive Producer or the Main producer for not cutting corners with a crucial scene like that. Fifteen or more of such special effects, and you will easily incur a few crores more. Thats how film costs go up - but as I said not all costs are genuine - they could be marketing ploys to cough up higher satellite revenues. Thats the main point of this story - not to poke fun at anybody.