"Saaho" (Telugu/Hindi/Tamil/Malayalam)

How do you evaluate 171 minutes of action flick laced with stunning background score, melodious songs, deafening-decibel graphic violence amidst a neat romantic track between Shraddha Kapoor and Prabhas, and intense villains strategically chosen from various languages? It is a mixed bag, and half-way through you realize you are in a dead-slow track with convoluted story-line which defies logic - its a story of a team of cops who set out to unmask the great gangster group of a walled city called Waji City (where the hell is this sky-scraper paradise?). The twists of director Sujith's screenplay are all about who is  the real cop, who is fake,  who is under-cover and who is finally uncovered.

As you see, there is limited room for maneuvre in the story plot - you will have to introduce a bevy of villains, the team of investigators, the hero, the heroine and then build the interplay with some concocted humor that doesn't register. Within the framework imposed by the director, and that is the right thing to evaluate the film rather than get swayed by the memes unleashed by anti-"rebel" forces on the social media, Sujith does a neat job in giving us an authentic film without the bells-and-whistles as seen in a "Dhoom" franchisee or the ultra-sophisticated stunts of a MI series. He is aided by two technicians who give life-support to the skeletal script - Ghibran's BGM score and Madhie's cinematography. Both of them give the surreal texture, feel and mood-mixing to the various high-octane scenes of the film. Subtract Ghibran's score from the film and see the movie rating drop by 1.5 points - his work is so priceless in the film with a range of techno-instrumentation.

Who fails Sujith? It is the editor Sreekar Prasad who seems to have gone for many breaks instead of chopping chunks of mindless violence. You don't need too many stunts to project heroism and Prabhas has shown it so well in "Mirchi" his last film before the blockbusterization of his career started. These stunts, and many dragging scenes in the first half make it boring to watch - and they don't sit easy with whatever little messaging Sujith and Prabhas wanted to give.

The best part of the film is not Prabhas but "others" including a cute-looking Shraddha Kapoor who gets her most meaty role as a cop who can also prance around in vest-applied shining skin in exotic bridges wedged between snow-capped mountain ranges. But the real "others" who shine the most are Arun Vijay, Prakash Rawalade and Chunky Pandey. Normally, Tollywood directors can inter-mix three dozen villains in six frames without anyone being remembered beyond their names but Sujith has characterized each of the mean-looking men so well that every one of them right from the man who played villain in "Pandem Kodi" to  Mandira Bedi to the one who played the bad guy in "Chatrapati" has a space to die for in the film - and that is no mean feat. Entertainment cannot be a given in a film of this genre - fans and reviewers must note.

Prabhas could have easily settled for a cool Telugu film after the monstrous success of "Baahubali" but he re-invested another 1000 days into the making of "Saaho" and backed it with his home production team. Hitherto, nobody from the South - Kamal Hasan, Rajinikanth, Chiranjeevi, Venkatesh, Nagarjuna, Dhanush or Rana Daggubati - has ever scaled this kind of altitude with so much audacity before - with back-to-beat hype. Even if the film fails to deliver as per the audience's expectations, Prabhas deserves a pat - so what if he fails grand. He could have shied away like NTR or Mahesh Babu but he stood there like a rock knowing all the brickbats and bouquets will come his way. Those few dialogues in the film about hitting six out of the park in a stadium or that dialogue by Murali Sharma that Saaho is like a feel-good ad that comes before a film - visuals can be disturbing even if the content is good - they pretty sum up South India's most audacious challenge to Bollywood. No, this is not as bad as "Rebel". No, this is not as repetitive as "Dhoom". No, this is not as bad as "2.0". No, this is not as bad a film as the herds are branding. If you can sit through the first half till the first twist comes, you may find the second half interesting and pleasing to watch, never mind the elaborate overlay of action stunt excesses that the director relies upon. A reviewer cannot convince anybody but having seen far more worse films from the South including Shankar's "I" or Muragadoss's "Spyder" - I must say this: the makers of the film UV Creations didn't hide the genre of the film in the teaser, they didn't mislead the audience in the trailer (unlike Shankar's "I" where a lion-man is shown as if it is the third role of the hero), they never projected it as a message-oriented film, they gave the right high-octave moments of the film without giving away the plot till the movie released. They packed quite a punch in this screenplay based film. For all that and taking away what could have been missed opportunity, I stick to my rating. Audience can check my ratings of other Prabhas films on my blog and elsewhere where my reviews abound.

Go with an open mind, and decide if you can experience the thrills of an action thriller.

Rating: 2.75/5

#Saaho #Prabhas #Sujith #Ghibran #ShraddaKapoor #ArunVijay #ChunkyPandey #PrakashRawalade #JackieShroff #MandiraBedi

"Run Raja Run" (Telugu Film Review)

RRR is a classy and crisp film, perhaps the best Telugu film of 2014 so far and must be a trophy film for all the talents associated with it. Sharwanand, the boy next door who debuted as a drug addict in "Vennela" and later starred as a rocket scientist in "Amma Cheppindi" and lastly as a don in "Prasthanam" has hit bull's eye with a winning script and an affable story - a story that combines the genres of action, romedy and revenge drama in a commercial format that will turn many heads in Tollywood. Sujith, a new director, makes a stylish debut inter-mixing many elements of story-telling borrowed from short films, joke books, novellas of crime fiction and action films. But he makes a grand entree' with story-dialogues-screenplay and directing skills.Two gutsy producers offer this film under the banner of UV creations; they literally bankroll the film to emit production values usually reserved for superstars - so rich is the film that also casts a motley gang of artists oozing out talent - Sampath as a maverick cop, Adivi Sesh as an out-of-box-thinking cop, Jayaprakash as a delectable dad with uncharacteristic affection for son Sharwanand and a petite new starlet Seerat Kapoor with cute demeanor but not beautiful by convention. The director wastes little time in introducing characters and establishing their quirks while moving the story at a frequency that oscillates between two parallel narratives - one is a saga of a kidnapping spree in the city by groups wearing masks of the ruling superstars of Tollywood, the other narrative is the lighter, fun-filled version of a romantic track between Sharwanand and Seerat with a track that has an under-current of police machinations and tensions.

These two stories move in enchanting ways giving us a run a minute in unchartered territory - a breakup with a cute girl, a situational comedy with unsuspecting artists, flashbacks that clarify the motives and the messages and a game of Russian Roulette between the hero , the anti-hero and the heroine that goes right down to the wire. The only thing that distracts is the occasional attempts to humorise a situation when actually tensing the scene might have been better. But you realise the director has a funny bone in presenting the story - he digs out wit, romanticises little and weeds out any scene that smacks of cliched treatment. Because of this thinking, concise and no-lazy-thinking, Sujith infiltrates your viewing experience with images and expressions that can make you watch many times over without fatigue. The movie's content appears fresh and yet larger-than-life  - a combination that even ace directors can match upto. In 138 minutes, Sujith showed us that Telugu Cinema can surprise you, entertain you without making a PG version and wow you.

Technically, the film is brilliant in cinematography - most shots are picture-perfect, show the artists especially Sharwanand in fine fettle, do not strain your eyes with awkward movements and angles and leave a lasting impressions. Great work by Madhie in the visual department. The film's alluring appeal, rests largely on the shoulders of music director Ghibran - familiar to Tamil audiences. Ghibran's sound of music certainly has range, class in arrangement, melody and presentation. Though his music seems inspired by the Western influences, there is huge promise and excitement in his output. All the songs elevate it to a status of hummability - and his repertoire of songs with varying lengths and rhythms must get him new fans in Tollywood. "Bujjimaa... is a rarity that haunts you because of the beats and the timbre in a new singer's voice. Ghibran's background score is  uplifting - it doesn't have orchestral brilliance like that of K or Ilayaraja but enhances the  crux of a sequence. Over-instrumentation can be a temptation but it doesn't jar.  Almost all songs are preceded by the instrumental version of the song precursing it - a technique to burn your music deeper into the audience's minds. Ghibran, dear Tollywood fan, remember this name and you  will fall in love with the music more after watching the film's mesmerising song picturisation. What is different about his music is also that the songs do not always follow a typical format - and use instrumentation that sounds novel. That makes the unpredictability more welcome  - in music as well as in the frames back-ended with the music.

The film makes use of in-film advertising subtly with Naturo foods and studio settings provided by Ramoji Film City and Golconda Fort effectively. Quite a few scenes are shot in Golconda Fort, I wonder how the authorities have allowed even the room where Sriramadasu was imprisoned. The climax has a dramatic twist that must not be missed. For Sharwanand, Adivi Sesh and Sampath this film will be a harbinger of new offers. Sampath is intense and comical at times - sure, it will usher in many roles in comic villainy a'la Prakash Raj and Sonu Sood. Sharwanand is in his element and deserves a pat, he improved his screen presence. Content like this is hard to back up on first instincts, so the entire team has to be patted for an effort like this; it energises the audiences who lap it up, gets the cash registers ringing for the producers and equalises the arena for artists and technicians for a while. Sujith must take a bow for redefining how clean, entertaining films can be made, hope he gets a long haul. That he can write dialogues that pack a punch is a bonus.

My rating: 4/5