"Temper" (Telugu Film Review)

NTR Jr. has been on a leather hunt for a long time. Like many top heroes, he has been waiting for blockbuster by flipping movies with hit-directors. With "Temper", NTR Jr. and his fans will finally heave a sigh of relief. No, it is not a blockbuster but it is one of the above-average films for the talented actor which will lift his fortunes. In little over two hours, director Puri Jagannadh scripts a story that revolves solely around NTR Jr. as a police SI with shades of grey. That's not new as "Pataas" also has a similar treatment. The difference between "Pataas" and "Temper" is in the degree of seriousness that Puri builds into the plot in the second half - taking NTR Jr.'s performance to an inspiring level - not seen since the times of "Raakhi" or "Simhadri". 

At a conceptual level, Puri Jagannadh is skilful in weaving screenplays out of wafer-thin, almost non-existent storylines. Most of his films are just an emotional roller-coaster ride giving the audiences entertaining bits of heroism, villainy, romance, comedy and tears. He writes dialogues, screenplay and directs the crew with punctuation points at opening, interval, pre-climax and climax scenes with an approach that seems to cover all elements of box-office success. He gets under the skin of the mass elements but mixes some class elements as well to create maximum impact. In "Temper", the film grammar he is known for hasn't changed but he has definitely mellowed down in lumping some of the cheap thrills and objectifications of women he is known to portray. He succeeds mostly in giving an engaging account of a police cop who is transformed from a "crony criminalist"  into an upright officer who polishes off the villains when the 'right cause' gets triggered thanks to girl friend Kajol Agarwal. 

The film's main objective seems entertainment but on tight leash and hence subservient to highlighting NTR in a career-redefining performance. So, Puri Jagannadh uses flashback technique and uses a reel-by-reel approach to elevating the character of NTR. He uses a side flunkie Posani Krishna Murali as a standout witness to NTR's journey from flippancy to greatness - like an audience's perception of how a hero is reborn. Posani's performance is one of the highlights of the film; he mostly gives a stare but when he speaks it impacts the audience about bonding with our feelings for the hero that change reel after reel. But for that, there are lot of forgettable scenes which are a big bore - like the scenes of romance with Kajol, the doggie scenes and the brothel scenes with Vennela Kishore. If they cut them out, overall weight of the movie might go up in terms of seriousness. Ali, who gets star treatment in Puri's movies gets a forgettable role; just a token presence. Prakash Raj gets a full-length role as a comic villain who wears half-pants and T-shirts all the time; his role gives a deja vu feeling but evokes good laughs here and there. 

What thrills the audience is the refreshing accent, body language and the characterisation of NTR. Instead of using multiple accents as Mahesh Babu did in "Aagadu", NTR  uses a consistent, high-decibel, short-'temper'ered tone that shows the volcanic anger of a policeman torn between morality and selfishness. His delivery of dialogues elevates his performance to a new high that could see repeat audience - because of the subtlety and novelty. By leaving out all the distractions that usually hamper receptivity to the acting prowess of NTR, Puri ensured this time NTR shines well taking the film entirely on his shoulders without the razzmatazz of star comedians and villains. Because of Puri's panache for restricting dialogues to preciseness, NTR never gives you a feeling of over-acting though occasional theatrical flourishes spring up in the run-ins between Prakash Raj and NTR. NTR couldn't have hoped for a better time than this film when the Nandamuri family is on a purple patch with hits like "Pataas". NTR's performance in the climax is altogether new and different than the fare before. Even if he hadn't shown his 6.5 pack (something extra) in a song, the fans wouldn't have minded. His dances were good but not different from previous films.

What pulls down the rating for an other-wise good film is music by Anup Rubens' music. It lacks melody and memorability - Puri's tastes in fine music have always been arbitrary and this film is no different in wasting an in-form music composer with a dud score. Mani Sharma gives an adept BGM score that compensates for Anup Ruben's unimpressive deck of songs. Puri also disappoints in the liberties and logic flaws taken in his approach. Like packing off dogs to Korea and shipping them back to India in 24 hours. Also, except in the last scene, NTR Jr. who is an SI never wears uniform, and uses a police jeep thats a cross between a Frontrunner and a Land Rover. The police station looks the same as that used in "Aagadu" and one never sees cops superior to NTR Jr. Wonder why nobody checks NTR's juggernaut of immoral antics until his own conscience pricks him. Next, under no circumstances does the court announce a capital punishment to gang-rape criminals within 24 hours of convicting the criminals. Puri hasn't really done a contempt of court but proves again his poor knowledge of justice system. In the climactic scene, NTR loses proof of evidence that will nail the culprits but couldn't Puri have the imagination to make NTR ask for an extra copy of the CD which may have been with the victim's sister? And when is TV5 getting aired in North America where the victim's sister is watching the proceedings? Puri also forgets that proceedings like hanging of criminals is not reported on an hourly basis. In dragging the scene in climax similar to Chiranjeevi's "Abhilasha" (where Rallapalli rolls on the floor crying hoarse "Aaapaaandeeeeeeeee..." to stop a hanging) Puri takes too many illogical cinematic liberties. Puri is known to skirt logic to prove his points but nevertheless makes an impactful, powerful film with an underlying message.The frailities take away some points but except for few lags, the film is eminently watchable for NTR Jr's tour de force performance.

Rating: 3.25/5

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"Viswaroopam" Telugu/Tamil Movie Review

"Viswaroopam" is truly a treat for fans of Kamal Hassan who admire his versatility and talent. Even though there's no title justification, the film is a stand-out in terms of technical brilliance and production standards that outmatch Asian cinema. To say, it holds a candle to Hollywood will be an outright cliche because Hollywood is always going to be on a different planet - their industry, their stalwarts, their creative flicks and their collaborative genius can never get exceeded in many lifetimes by anyone else outside of Hollywood. But Kamal Hassan wouldn't take that, as would  many other talents in Bollywood and other "Woods" who feel they are a misfit in Indian industry. Eventually, these talents either hit upon one or two films that pushes the door for an Oscar nomination or they end up collecting shingles for a role in "their" films which Americans can't even remember.

Kamal Hasan has gone through this angst many times in his lifetime and one day, we will all get to read about it in his own autobiography. Unlike his contemporaries in South film industry like Chiranjeevi and Rajanikanth, Kamal Hasan never compromised on his beliefs, his standards of acting, his quest for meaningful cinema within the boundaries set by commercial sensibilities. Unlike Rajanikanth and Chiranjeevi and even Amitabh Bacchan, he never got carried away by what the fans expected of him. Each time he acted, right from his toddler days as a child artiste, he kept pushing acting performances towards new highs and never fell to the temptations of stardom. We could have lost him many times in his career as an artiste of repute but Kamal Hassan never succumbed to the trappings of a mass hero which can nip your creativity in the bud. Playing characters, working with the greatest talent harvest in the golden age of Tamil and Telugu film industries, Kamal Hassan was true to his own self - which has earned the respect of every film goer who sees an artiste in him.  He has tried to play a new character and not the same matinee idol role that others were getting drunk on. On top of this acting talent, he can also write screenplays, sing an occasional song, make himself up into a different getup, edit films, pen sharp dialogues and direct movies. That makes him almost a non-pareil in modern times in Indian films a sort of a Raj Kapoor, Guru Dutt or a Shantaram. He is also a maverick in more ways than a Hollywood multi-faceted legend like Sidney Lumet, Clint Eastwood or a recent Ben Affleck - he strongly believes in creating cinema thats different, bold, taboo-free and subtext that sometimes is so strongly segued with his own belief-systems that they lead to the ruckus that's unleashed for "Viswaroopam". Whatever they may say, that Kamal is an atheist, he is anti-brahmin, he is anti-Hindu, he is secular, whatever, "Viswaroopam" is an uncomplicated visual treat which must be watched atleast once. 

What is evident from his films, in general,  and this film, in particular,  is that Kamal Hassan likes to give subtle messages of rationality, empowerment of women, a voice of dissent to those who act irrationally and a background to the social winds of change that sometimes miss commentary and observation by one and all. "Viswaroopam" is a good story told with lot of detail and passion  about an Indian RAW officer who infiltrates a "Jihadi" network of terrorists by becoming one of them. He changes his name, religion to be a Kathak dancer flirting with his girl disciples but earning the distrust of his not-so-loyal wife Andrea Jeremiah. Andrea is a nuclear oncologist and lands in a soup when a detective she appointed to spy on her husband's "illicit" liaisions knocks on the door of a terrorist. That terrorist's den belongs to Rahul Bose - a one-time ally of Kamal Hassan in his flashback role as Wasim Kashmiri. Rahul's men hold Kamal and Andrea captive and get ready to break his knees. That's when Kamal sets himself loose and polishes off the villains.  The sequence opens out further to reveal the flashback in terraneous Afghanistan where Rahul Bose and Kamal get together to become brothers-in-arms under the elderly guidance of Nazar (he is always there in Kamal Hassan's films, isn't he?). The flashback is the heart of the film and runs for an elaborate length within the overall running time of 148 minutes.  It is well-researched and well-shot on the magnificent plains of Afghanistan or the parts of Central Asia that protected Osama Bin Laden. This part of the film  - the part of the flashback which shows the sun-drenched tough-living conditions of mountainous regions where the terrorists train to fight for a cause but have their emotions run below the surface - for their loved ones - is shown with fascinating detail.  Under-stated but firm interplay of emotions of joy, friendship, betrayal, love and anger are well-bought out.  Certain scenes may remind you of the basic plot in "Kite Runner" that memorable tale filmed from a best-selling book. There are other scenes which resemble some of Kamal's films like "Dasavataram", "Satyaa" and "Hey Ram" (which he himself directed). 

Screenplay is pacy, and the narrative cascades well with a storyline that is well-written. Characterisation and emotions are the only two aspects which take a back-seat in Kamal's self-directed films. Not all characters get the right attention and except for Kamal, Rahul Bose and his associate, the rest of the characters were a wasted lot. Shekhar Kapur,  Prema Kumar and Nazar could have got meatier roles because they have the screen presence. Kamal's own performance actually gets overshadowed in the film by Rahul Bose who is such a fine actor. At times, Kamal Hassan is unconvincing as a Jihadi terrorist, but Rahul Bose is bang-on whether he stops himself short on doting his son and wife or rabble-rousing his camp followers or slicing his targets. Even his Arabic is flawless and sounds so good to hear. Andrea Jeremiah is cute and so is Prema Kumar but Kamal's fans must be disappointed not to find the customary lip-kiss that has become so commonplace in his films lately. The last time Kamal directed "Hey Ram" he was all over Rani Mukherjee but this time wonder whether it is the the creditors and the censors that made him lose intimacy with two cute debutantes.  Songs never get the extra-padding in his films especially the era after he gave up on Ilaya Raja. In this film, Birju Maharaj composes a lovely number on Kamal as a Kathak dancer set to hummable tune by Shankar Ehsaan Loy. The trio also score a terse yet tense background score that never distracts the audience from expecting surprises. Kamal has once admitted that he killed his own career in the early 2000s by acting in comedy films in which he plays marbles with other also-rans. Then it took many films to get back his mojo even though the golden run has gone. He is not a bankable star at the box office because he doesn't improvise on his charishma, he merely experiments with different characters and nobody really whistles when he appears on the screen, nobody takes ninety seconds to read his name on screen as with other stars with epithets like m-e-g-a-s-t-a-r or s-u-p-e-r-s-t-a-r. Here is a star who gives story the headweight it demands, blends his character like any other character in the film  and uses humor that is most often never dumbed down for the galleries. You will find references to famous literary works like "killjoy" or questions that he wants you to ponder like "Which God of yours?" (a reference to the Hindu Pantheon). Infact, think of the treatment, there is nothing in the film that buys controversy. Its just that the terrorists of a certain network are shown as highly religious in the traditions they follow - thats not objectionable by any stretch of imagination. 

Obviously, violence is quite graphic and brutal as it is depicted to match the explicit nature of what terrorists indoctrinated to achieve their means do. Climax could have been better and the wry humor that Kamal likes could have been spaced evenly throughout the film. Tension grips the film from the outset except for the titles when pigeons - the most peace-loving creatures flutter in their backyard. One noticeable point, I must say is that for the first time, a film doesn't preface with a statutory warning on smoking and drinking. Thats a rarity. Kamal Hassan, the director has aced up Kamal Hassan the actor. Wherever he wants to migrate to and become a citizen of,  Kamal's films are good to watch  - they are different and have a nice mixture of cinema sensibilities that the Indian viewer is seldom exposed to. For all that and for the controversy that it has generated sans the emotional and entertainment connect with the masses, "Viswaroopam" deserves 3.75 out of 5.