Old Theaters in Hyderabad - Some Nostalgia

Tarakarama 70mm which until recently degenerated into exhibiting B-grade movies is finally re-opening again with renovation and new-age sounds for the cine-lovers in Kachiguda. Most likely it is going to be the first movie of 2013 that will be screened – “Nayak” starring Ramcharan Tej. It is next to the newly opened INOX (earlier known as Parameshwari and Maheshwari). I have had some great memories associated with most of these single-screen theatres which were all within a kilometer of our residence in Narayanguda. We used to be excited by the prospects of going to every movie around our home with large cutouts of heroes. Shanti 70mm, Deepak theatre were the closest theatres at that time, literally a stone’s throw. There were also Kumar 70mm which used to screen some of the finest English films and I remember watching "Ten Commandments" and "Omar Mukthaar" there. Shalimar theater never came of age and by the time it did, it started showing sleazy movies and eventually became a Marriage Function Hall.




Shanti has had an amazing run - hit after hit, many flms running for 50 days to 100 days so it was boring as we were impatient every Friday to catch up with the latest movie. That’s when having a handful of theatres in vicinity helped a film-obsessed family like ours. Shanti had a magnificent façade, and an elevation that makes it look like a mansion that survived the ages. It had unlimited parking space for any wheeler you drove with, maintained smoking spaces way back in the 70s. It has one of the biggest screens even today and maintains the biggest number of A-class tickets. In those days, the theatre had a water pond, atleast two aquariums which used to intrigue us, and had two entrances which are serpentine ranches with a thick red carpet segueing the entire plinth area of the staircase sans steps. Walking up was as much a pleasure as walking down after the screening. Now, Shanti theatre has only one way staircase, the other staircase is shut for “strength” reasons, and has just one aquarium. The water pond is dry and abegging for maintenance. But the theatre remains a nonpareil for single-screen theatres. I always wondered, for a theatre of that space, you can have a multiplex the size of Cineplanet near Medchal road.


Srinivasa 35mm-Venkatesa 70mm (now converted into Legend Apartments) had some terrific movies celebrating many box-office hits. Venkatesha 70mm had an open ticket counter and a flat ranch for balcony tickets next to the A-class almost like “Vaikuntham complex” in TTD. Bapu uncle’s most famous mythological “Sampoorna Ramayanam” completed an year of running or so in Venkatesha 70mm and I remember even as a toddler being carried to the 100-day “Shatadinotsvam” of the movie. The last movie I watched there was even a Mani Ratnam film “Donga Donga”. Srinivasa 35 mm was more compact and carried many low-budget films especially films made by SV Krishna Reddy, Vijaya banner and Ramoji Rao which became blockbuster movies like “Yamaleela”, “Brindaavanam” and “Mayuri”.

Deepak theatre always struggled for good movies and most movies running there were re-runs of movies or second-releases. "Ekalavya" was one film starring Krishna which I remember amongst a few first-releases there. A golden opportunity for Deepak theatre owners came even in early 2000s for reviving the fortunes of “failed” perception about the theatre. It was for exhibiting a successful movie made by Gunnam Gangaraju called “Aithe” which became a sleeper hit in those days. The owners were so hell-bent on ruining their chances of success and adding to their woes, that the movie which was running well was removed for some nondescript dubbed English movie. Since those days, the theatre is winding down and is on way to make way for another Apartments.

Basant Talkies was another lesser known but was still walkable for us. I remember watching some great entertainers by Superstar Krishna in that theatre. Most of those films were multi-starrers, surprise, not at all uncommon, as they are now. I remember watching atleast one movie of Krishna co-starred each with Thalaivar Rajnikanth and also with megastar Chiranjeevi. There was also a movie in Basanth Talkies starring Chiranjeevi and Sridevi, in which Chiranjeevi is a rapist and Sridevi, the victim claws her way back into forcing Chiranjeevi to marry her. I don’t think this kind of justice is desired by anybody in today’s world but those were the stories those days and the films. Basant Talkies has since become a mega-posh apartment called “S.V.Basanth” and celebrated is third or fourth anniversary recently. But the memories of Basanth talkies remain fresh for us, it had some great action movies mostly by Doondi and Krishna combination.

Then there was a theatre closer than any of the above those days which had a great run almost parallel to the legendary English movie-screening theatres like Sterling, Skyline and Liberty. It used to be a theatre called “Kishore”. The theatre had a swashbuckling entrée one day. It was advertised in all English dailies and the movie was called “Asha” or something starring Jitendra and actress Reena Roy and another heroine. We didn’t go for the movie but the theatre became an addiction soon for us. It kept rotating movies with amazing regularity. There was an ANR and Jayaprada movie called “Bucchibabu” with great songs but it became a flop. We didn’t go for that too, surprisingly. Our chance came for some James Bond movie. I think it was “The Spy Who loved me” and we fell in love with the theatre. It had long steps leading to the entry door of the theatre, and the ticket counter was so contiguous to the main door that you could pick it up and decide whether to go in or out depending on whether it was “housefull” or not. That arrangement made us feel very good and very special, we never saw such arrangements anywhere except maybe “Liberty” theatre. Kishore theatre had some great releases and I remember also a spine-chilling experience of watching a movie called “Alien”. My dad was away on a tour and my mother was in no mood to watch an English film but the theatre was so close to our residence - we used to literally come home during Interval time. She goaded me to take my younger brother to the movie. The movie was frightening and turned out to be one of the eeriest movies I saw in my childhood, I was courageous all through but my brother gave up and closed his eyes everytime some creature erupted out of somebody’s stomach in the spacecraft or space. I don’t remember anything about the movie except seeing my brother frightened and crying sometimes and this alien creature wreaking havoc on one being after another. My brother was pleading me to take him home. But I remained till the end as we never learnt walking out was an option midway in a cinema. That has become ingrained till this day, except that there were two movies which I never could sit through and one of them surprisingly was “Khushi” of Pawan Kalyan. The last movie we watched at Kishore after it was re-opened as “Sai Kishore” was the Walt Disney film “Alladin”. There was a time when my father advised the owners and prepared a project report converting it into a better complex for shopping while being an exhibition centre for movies. Alas, the owners never acted upon  the project report  of my dad, never paid him, and soon, they went down the drain. Later, the complex became Panchavati supermarket and some EAMCET centre but the bulk of the property has since become litigant and now languishing.

Then of course, Parameshwari and Maheshwari were as close to our home and were easily the pickiest of the theatres in those days. It was the only theatre in Hyderabad to have an escalator and boy! it was an exhilirating experience. The construction of the theatre and the days of exhibition were always associated with plenty of hype and glamor. It had the best image those days, even better than Sangeet in Secunderabad and soon became the most coveted theatre in twin cities before multiplexes came on stage. “Hum Aapke Hain Kaun” was the last of the films I remember having watched, and like many, we watched it many times. But there was a class differentiation between Parameshwari crowd and Maheshwari audience. Maheshwari was on top, and you had a majestic ranch leading to the entrance, there were atleast 200 youth dressed in gawdy clothes those days, hanging out on those ranches, giving the impression that it is always “houseful”. The movie which my parents saw was a special screening of the film “Sharaabi” invited by T.Subbirami Reddy himself for a special gathering of guests. Parking was shared with many other shops in the complex and there was also a funny, long “linga” type structure with the crampiest of parking spaces. It was the Bank of India Regional office and I remember having gone there a couple of times for an “audit” of the branch and staring mostly at the crowds waiting to catch up with the films at the two theatres. It is always a mystery, why the two theatres fell to a more artificial, blood-red compact complex of INOX. I watched a slew of movies like “Genius” and “Ko Ante Koti” in INOX recently, but the soul of theatre audience was missing, everybody is so well-behaved that I felt sleepy after some time. I wondered whether I was at the theatre or at an opera where everybody wears a stiff upper lip and hardly enjoyed the spontaneity of emotions that can engulf a crowd in an old-screen theatre.

The theatre that was closer to us was Tarakarama 70mm which I started this nostalgic account with. It was owned by N.T.R family and it had a nice night-lit statue of deities at the entrance. N.T.Rama Rao in those days commissioned Ramayana story in pictures by Bapu uncle and that was spread over neon-lit ceilings spread over 2500 sq.feet in the main lobby. It still remains there,if I remember, the last movie I don’t even remember in this theatre. Tarakarama has had some great hits in those days, but the two movies I remember vividly have been Amitabh Bacchan’s “Don” and one movie based on Yaddanapudi Sulochana Rani’s novel called “Agni Poolu”. According to hearsay, N.T.Rama Rao built quite a few theatres for his children – boys and girls. The boys’ names were bearing “Krishna” as surname (Balakrishna, Harikrishna and so on) while the girls in the Nandamuri family were surnamed as “..Easwari” (Bhunvaneshwari, Purandareshwari and so on). Tarakarama was as well maintained as Ramakrishna 35mm and 70mm those days. NTR had divided his property amongst his dozen odd children but the will of the family, it seems, never allowed any family members to dispose off the property at anytime for commercial resons. As a descendent and a beneficiary of NTR Family, you can enjoy the rentals and the benefits of ownership but you can never change the nature of the original property nature. Which is why amongst all theatres, NTR family-owned theatres never changed the nature. There was a Ramakrishna Horticultural Studios at nacharam, an NBK enclave housing the subregister’s office near Musheerabad X Roads, a Ramakrishna theatre complex in Abids and of course, Tarakarama theatre amongst many properties. I wonder whether such wills are feasible in law or practical in the fast-changing dynamics of the Real Estate market in Hyderabad. There are others like Odeon, Sudarshan 70mm which are converting to apartments. But Tarakarama is all set to re-open its second innings and for cine-lovers, its another complex which will hopefully give a good experience like Tivoli 2.0.

A few other theatres I remember were Royal Talkies which aired the famous "Shankarabharanam", Dilshad, Zamarrud, Santosh, Sapna, and of course Surya 35mm and 70mm. Surya has aired some of the best English movies too outside of Skyline theatre, and has now converted to Prajay Apartments. Growing up in Hyderabad gave a great experience for movie-goers thanks to all these old-style theaters which are now either being replaced by apartments or by multiplexes.I hope many of you will reminisce the stuff I outlined above. Do share your experiences, anyways.

"Midhunam" Telugu Movie

“Midhunam” (Telugu) is a much-awaited film for the art-loving Telugu crowds who love clean, good cinema. “Midhunam” means “couple” in Telugu. It is based on a story by noted Telugu SriRamana (different from Mullapudi Venkata Ramana) by the same title released in a Telugu weekly in 1998, the story went on to became an instant classic – critically acclaimed and encomiums poured in from all sides – readers and legends in literature. Bapu, himself got so overjoyed reading that story that one fine day, he re-wrote the entire story running into about 6000 words in his own handwriting. It was re-printed in that famous Bapu font and became a best-seller. Director is Tanikella Bharani, one of the most talented personalities in Tollywood (he is a poet, theatre artist, dialogue writer and himself an acclaimed film actor noted for his unique timing and voice modulation). He was so taken up with the story “Midhunam” that he directed the film investing a lot of his passion and energies into the making of this film. Earlier this year, Bharani also released his famous couplets on Lord Shiva as an audio CD in his own voice which are selling well. As a writer first and a poet later, Tanikella Bharani is a unique personality who never loses an opportunity to propagate the grandeur and beauty of Telugu language. He loves Telugu so much that for the past 25 years, he insists his signature on bank cheques is also in Telugu and not English. Against this backdrop, “Mithunam” is quite an experiment which deserves the plaudits showered on it.


The story is about an aged couple AppaDaasu (S.P.Balasubramanyam) and Bucchilakshmi (Lakshmi) who live in absolute trance of the village life with an ecosystem of natural habitat full of organically grown vegetables, co-habiting animals and lush greenery all over. The couple’s five children are all settled abroad but the couple is nonchalant about pleasures and pressures of parenthood in twilight years. SPB keeps reminding his wife about “detached attachment” and being merrily and madly in sync with each other, they tune into the radio, help each other in various chores including pressing each other’s tired legs, make the rituals and rearing the cow and its calf and cultivating a beautiful horticultural farm a feast and a happy pastime. No TV, no freakouts, no secrets from each other and no other hang-ups in life except to occasionally spar with each other on issues best known to them. Everyday it’s a breeze and time flies because the elderly couple are busy with so much of work with their hands and legs – the manual work which gives villagers so much headway in health and happiness.Then there is a twist in the film with one of them passing out. You will have to find out which one. A simple story but there’s a third character in the film - the nephew who is witness to the old couple’s foibles and fracas with each other and funtimes together – that character is omitted by Bharani as he was keen to experiment the whole film with just characters. Infact, that is an amazing part of the film. For 123 minutes, the running time of the movie, there are just two human characters SPB and Lakshmi playing the two roles and Bharani has produced quite a stunning play of a range of Nava Rasas between the two with many shades and spirited entertainment. There is uproarious laughter, giggles, laments, weeping, anger and the occasional drama created between the two characters in their well-nuanced roles.

Not many films have come with just two characters; the ones I remember are “Show” and some movie in which Sunil Dutt plays it all himself in a B&W film. Such plots have to be sustained and thankfully, in this film he picked two veterans in the craft of acting and sometimes overacting – Lakshmi and SPB. While Lakshmi is quite apt and well-controlled, SPB carries always a shade of Tamil stars like Sivaji Ganesan when he acts but his pronunciation of the toughest but most mellifluent Telugu carries the day for his detractors. He can control the flow of words as they should occur and in “Mithunam” he gives a dignified uplift to his performance except for about three scenes where he overacts. Even if SPB the actor cannot stop himself, his performance alongwith Lakshmi elevates the film to a new level. In the original discussions about this film about star cast, one actor who would have sealed it had he been alive today is Gummadi – who wanted to play it badly after he read the story and reacted in public. Prakashraj would have been too theatrical and Chandramohan is way out of touch with weightier roles of late, so SPB was indeed apt choice, in hindsight.

Music by Swara Veenapaani is reasonably well-received especially the title song sung by KJ Yesudas. There are few other songs which take a leaf out of mythological classics belting out “Padyams” and lullabies and “funny”item songs. There is one song sung by lyricist Jonnavithula on coffee. It can be the best ever song on coffee which can elevate even brands like “Starbucks” and “Café Coffee day”. It celebrates the heady feelings one gets by drinking the home-made filter coffee of the typical South Indian family. There are few other songs which showcase the grandeur of the song-banks resident in our old movie classics and also showcase the richness of Telugu culture. Kids will probably love a short cartoon film running for 4 minutes about the ills of over-eating SPB style - no insult meant here, SPB himself reduced 27 kilos before this film. In order to break the monotony, Bharani uses repeatedly the All India Radio as a backdrop for various daily chores of the couple, and reminds the new generation that it is not FM Radio but AM 700-800 MHz which still runs with sundry programs in news programs in Telugu, Sanskrit, Hindi and a host of native plays, skits, songs and utility fare that resonates with those who tuned in religiously from 6am till 11pm. That routine of tuning to the radio from sunrise till an hour before midnight is the right time for keeping your biorhythms in tow with good health and good sleep. Bharani captures all these with a great sense of nostalgia. A few shots stand out giving lot of symbological messages; being a Shiva worshipper, everytime there is a bereavement in the film, it is shown as if its going back to Shiva.

On the whole, the movie is a visual treat and is watchable by family. Bharani has hunted for a 3-acre house that captures the enchantment of what SriRamana wrote in his novel about. Bharani found one finally and grew fruits and vegetables and trees for six months before commencing shooting. He has also shown a rare courage, thanks to producer Ananda M Rao, to retain the pure and richly prosaic standard of Telugu language used by Sriramana in the film. This film is sure to dot the film festivals with subtitles in English but if you belong to the Telugu fan club, this is a must-see anyways devoid of commercial drivel that vitiates our films. In October 2012, there was a world survey by the World Languages Institute in Thailand in which the jury sat down to judge more than 33 classical and modern language scripts around the world. While Korean language was judged as the best language according to various parameters including use of the language in scientific paper presentations, visual appeal when you write the language, the shape and metric beauty of the letters, the number of words and combinations that the letters can facilitate, etc. Voila! Telugu Language has beaten the likes of Tamil, Hindi, Marathi, Bengali, Kannada and Malayalam in being judged as the second-most beautiful script language in the world. English, not my mother tongue, has come third or fourth. For anyone who wants to know more about Telugu culture, language and the lyrical beauty, “Midhunam” is a fine biopic to get introduced to, even if it has its flaws. I will give 3.75 on 5 making a fractional exception for a fascinating film to watch. I can guarantee you that if you have aged parents and grandparents, they will bless you forever for taking them to this film. It also has a message: No need to retire from life because you retired from work. And parents can have their own space even after their kids move on.

"Genius" (Telugu) Movie Review

“Genius” is an unconventional film in a commercial film format. When the audio was launched, it created lot of buzz when some of the acclaimed writers of Tollywood got together to announce a film that will strike a chord with different segments of society who are exploited by some stakeholders. The writers were Chinnikrishna whose claim to fame are movies like “Indra” and “Gangotri” and of course, mass dialogue writers Parachuri Brothers. The director is somebody hugely popular on the telly – Omkar or Omkar Annayya, who does dance shows with toddlers dancing to gyrating tunes in Tollywood. Omkar directed this film which has a running time of 150 minutes with a one-film hero Haavesh, his own brother Ashwin and another upcoming youngster Jeeva. The storyline is quite simple: Three characters – Haavesh (Nivas), Ashwin (Yasser) and Jeeva (Koti) they all have an obsession with a personality respectively in their areas of interest. For example, Nivas is a blind follower of Pradeep Rawat, a politician. Yasser eulogises a batsman cricketer Nizamuddin (rings a bell?). And Koti is head-over-heels with a superstar/megastar/Call what you will ¬– played by Aashish Vidyarthi. The story then moves forward on how these respective demigods idolized by the three youth become more and manipulative eventually destroying their respective lives – until the three realize they are being exploited and short-changed at every turn of their Gods’ march to mega glory. Pradeep Rawat the typical politician stabs Nivas in the back, Nizamuddin pockets Rs.20 crs in match-fixing, and Peda Babu the film star uses the fans as a ladder for success but doesn’t care a dime when the fans are in need.




That’s quite an explosive story and you can imagine what happens when a jingoistic story writer and an iconic writer-brother team of Parachuri surname gang up together to give a story that breathes fire into screen. To be fair, Omkaar has done well doing justice to the explosive theme and building the plot and characters well which itself is quite many-layered. The casting is near-perfect except for Haavesh who lacks the intensity to be the big hero; he is handsome and has a great voice and body language but is low on emotional intensity which is required to carry a film like this on his shoulders. He falters in first half but heuristically delivers in the second half as crescendo builds to a good climax. It’s the other two - Jeeva and Ashwin who have an impactful screen presence. All the three villains – Aashish Vidyarthi, Pradeep Rawat and Adarsh (Nizamuddin) make their weighty presence in the film. The two heroines are non-entities in a film of this story depth and one of them shines a bit in a song amazingly shot in Leh Lake. In order to build engagement with those who expect more glamour in the film which is deadpan serious, Omkaar inducts a heavy-dose item song with three starlets who have seen better days – Rekha (“Anandam”), Sweta Pandit (“Kotha bangaaru Lokam”) and Anita (“Nuvvu Nenu”). That song “Dibbari Dibbari” is a raunchy number on the hazards of the casting couch in films. The opening song with Raju Sundaram master is also evocative of mass appeal which connects with fans of Omkaar who expect an inkling of his choreographic flair in the films. Dialogues do stand out in some places and appear consistent with the characters. However, contrary to what is expected, Brahmanandam doesn’t get enough smiles.

On the whole, a cool attempt despite few expectations belied – in comedy, pace and casting of the heroine. It is high time a theme of this kind has been attempted in Tollywood which makes more films for the masses but fewer films with a message-orientation. In the last 75 years, Bollywood made about 9200 films. Tollywood made 6200 films while Kollywood made about 6300 films. But nowhere is the manipulation of film fans more rampant than in Tollywood – this especially happens at a level where most fans connect so emotionally well with their heroes but are often overlooked when it comes to proper guidance about their career interests and long-term life goals. Right from the time of ANR and NTR to Krishna and Shobanbabu and Krishnamraju to Chiranjeevi and Balakrishna to the new crop of Gennext superstars, it’s the fans who are being exploited in the selfish pursuit of mega success that heroes get at the cost of substantial sacrifice of the film fans. No doubt, the madness has reduced, but at a basic level – at the level where the audio is release or the coconuts are broken at the morning show or the day before the release when cutouts are mounted to suit the inflated egos of these heroes, there are still many fans who are hapless and gullible – it is their savings and their precious time and their family sacrifices which are invested into the present market value of the heroes and their clans – and the system is self-perpetuating. The wisest fans are the metro crowds and the NRI crowds who moved on in life. The examples of how heroes egg their fans to rush for first day first show tickets, some of them getting crushed, some of them committing suicides gets a lot of pathos.

“Genius” is good in parts and is watchable once and despite the “A” certificate which is given because of the revenge-orientation of the story, it is decent. What is not well-researched is the psyche of the cricket fan and the political fan – the volunteer. Those could have been better analysed and projected. Music by Joshua Sridhar is quite soothing and I have been following his music since the movie “Prema” was released – he is a music director who is attempting to break new sound barriers without sacrificing melody which is the lynchpin of long-lasting music. I will give this movie 3 on 5 because it is reasonably well-made, holds out powerful messages that can strike a chord and has good technical, performance and family values.

"Ko Ante Koti" Telugu Movie Review

“Ko Ante Koti” is Sarvanand’s latest film directed by Anish Yohan Kuruvlla. It’s the story of a serial robber (Srihari) whose speciality is in opening any bank locker in the world. He can open these locks whether they have number combination or heavy-metal combination with multi-inch thickness. He ropes in two other characters - one a glutton who can also mash people with his obese body and two, an abettor with a broken eye and cylindrical glasses who signals to the gang in between “heist and run”. This talented trio ropes in Sarvanand during one of Srihari’s sojourns in jail. The reason? Srihari is planning the grandmother of all robberies so far. Before you wonder whether it is the Swiss Bank locker or the Federal Reserve Bank of New York (because these are the two most grandmotherly of all lockers in the world, one houses more cash than the politicians in India and Indonesia and the other stores most gold held by most central banks in the world), you are told there is one place where all the black money is kept in India itself and that is the next target after which the loot will be trifurcated, no quadrafurcated and they will all happily retire. Srihari - the gang leader baits each of the three with a thing or two dear to their hearts. Will they succeed? Will they survive the police inspector Ranjit Kumar (brilliantly played by veteran theatre actor and voice coach Vinay Varma)? And will Sarvanand get his love Priya Anand (The “English Vinglish” cutie who played Sridevi’s niece)? That’s the long story of an unsually long film which has its queer eccentricities and oftentimes humor that’s dark, obnoxious and adult-grade variety. Sometimes, the humor resembles the “Delhi Belly” profanities which grate on you, no wonder the movie got an A-grade.


In the name of experimental, obtuse humor and unwarranted twists, director Anish Kuruvilla (debut film “Avakaay Biryani”) has created a film rich in violence and crude jokes and the only thing that sustains the film is performances by Srihari, Sarvanand and stage actor Vinay Varma. For the first forty minutes, the director takes a long time to register the plot and the principal characters and gives no relief except by way of interactions between the four characters. After that, suddenly, the songs appear one after another almost in quick succession. The narrative also moves in forward play and flashback which jars the flow – such techniques will make an action drama unduly sag. Also, the film is completely unfit for family audiences and director compounds the agony by killing off some great entertainers like Chitti, PC and Inspector Ranjit Kumar. I keep reiterating that killing off the lively characters in the film is inimical to the success of any film. Even in a film like “Gambler” starring Ajith, the director Venkat Prabhu eliminates the comic characters in the film and the film met with below-par success; such actions are anti-sentiment and never received well by the audience.

The length of the film could have been better edited. Music by S K Karthick sounds better in some songs and camerawork is good. Sarvanand is a good actor but this film produced by himself is not worthy of his money and efforts. He has to build his versatility as an actor in selecting themes which enhance the range of his body language, he is getting consigned to being the metrosexual male with a thick beard, mr.cool, and a decent lover boy. If he has to make it to the next cut of mass heroes, he has to “escape gravity” to do a mass roles, the audiences will tire of his benign smiles and cool walks in background songs. Actor Raaja of “Anand” fame also went out of offers because of this monostyle acting. Fact is, Sarvanand has potential which needs better leverage. Srihari gives a  fine performance and he shows a better range of Telugu accent but his characterisation lacks consistency and mars the film in the second half. Director Anish who produced such fine films like "Anand" leaves a bad taste with this film with a lack-lustre plot thats trite and characterisations that go haywire. With regard to theatre heavyweight Vinay Varma, it is surprising he got such a brief role and gets killed; he gave some brilliant moments with his scheming looks and rich timber voice and just mouths off "Dongre" with hilarity. He certainly deserves to be noticed by Tollywood for meatier roles. On the whole, “Ko Ante Koti” is barely watchable for the jarring notes it hits, faulty screenplay and very few characters redeem the film as outlined. It deserves just 2/5.

"Saarocharu" Telugu Movie Review

"Saarocharu" is Ravi Teja in "class appearence" (note the spelling of appearance again; just to drive home the point that most vernacular titles don't get vetted for class appeal when translating into English but thats digressing). Ravi Teja is always known for mass entertainers that make even the mundane sound raunchy. So, we were warned this is is his class appearance (correct spelling). Director Parasuram has picked up reputation for making sensible films with subtle messages. He made films like "Yuvatha" (talks about youth power and talent), "Anjaneyulu" (talks about responsible news channels). His last film "Solo" with Nara Rohit has been well-received as it shows why joint families can and must survive current nuclearisation of society. He has roped in good starcast besides Ravi Teja - Jaya Sudha, Kajol Agarwal, Richa Gangopadhyay, Srinivas Reddy, and a cameo by Nara Rohit.

The story is not very different from umpteen movies which came on finding the right life partner to connect with. Ravi Teja is asked to help his colleague Srinivas Reddy to win over a girl he is seeking. That girl's best friend is Kajol Agarwal who is obsessed with her own beauty, she is narcissistic and haughty to the point she tells it is difficult to fall in love with any man unless there are points of commonality. Soon she finds herself drawn to Ravi Teja, he tells her stories from his life and finds that he is actually married and about to divorce his wife (Richa Gangopadhyay). The story gets a bizarre twist in the middle when Ravi Teja confesses he actually made up the whole story in order to woo her as he finds her to be perfectly compatible with her. Kajol rejects Ravi Teja as she finds this deceitful. She is engaged to Nara Rohit (a cameo) and then the happy ending as she goes back to Ravi Teja. While the story is simple narrative, what is questionable in screenplay is that nowadays film-makers resort to a dishonesty on the screen by creating characters who never were meant to be. In this case, the hero created a character Richa Gangopadhyay whose life is lived out by another couple who get "love-married" and divorced. Such methods of screenplay and story-telling are actually wrong even though appear creative. This technique of showing characters which are a figment of hero's imagination was last shown in Prabhas movie "Darling" which met with average success.

But is the film good and clean despite the narrative loopholes? I think it is, thanks to director Parasuram and the characters played by Kajol Agarwal and Ravi Teja. For fans of Kajol, this is a revelation as Kajol delivers a fine performance which gives ample scope to show she can be mean and many-shaded. She steals the thunder from Ravi Teja which is not usually the case in his movies. Ravi Teja is going through the crisis that every Mass Hero goes through many times. At the peak of their careers, Dada Kondke and Govinda, after delivering record-breaking box office hits sudden make a 180 degree turn with movies that are atypical of their wont. It has to be seen whether Ravi Teja's attempt at being a decent guy with family values will appeal to the family audiences and class viewers. My guess is, Ravi Teja needn't become class-conscious as there are enough heroes in that genre.  He should continue to be mass-hysterical and madcap-oriented as he always is. As far as the film goes, its quite clean and entertaining despite the different looks. Comedy by MS Narayana in the flight fills the void created by Brahmanandam's absence. Music by Devi Sri Prasad is just average and hasn't given his best to Ravi Teja as in previous films. Parasuram attempts vaguely at the dilemmas of married couples and the blues of divorce and wastes the time in the movie with 150 minutes. Nara Rohit and Jayasudha make a commanding presence in the film despite the short length of their appearances. Richa Gangopadhyay is a star who cannot turn and may find offers deserting her. What gives the movie the best moments are Kajol Agarwal and Ravi Teja  - they have shown a different side to their personalities but I must admit you get the feeling it is more Kajol's film than Ravi Teja's. Good to be rated atleast 2.5/5.

"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.

"Yeto Vellipoyindi Manasu" (Telugu/ “Neethane Enn Ponvasantham”(Tamil) Movie Review

“Yeto Vellipoyindi Manasu” (Telugu) or “Neethane Enn Ponvasantham”(Tamil) is Gautam Vasudev Menon’s latest film whose audio was released many months before the release date. Reason: Maestro Ilaya Raja composed music for the film. Maestro Ilaya Raja had done exceedingly well in the songs which are already chart-toppers. Atleast four out of the seven songs are haunting, hummable and lullaby-melodious. Music-wise, Ilaya Raja has done his part in giving amazing songs for the season, but director Gautam Menon hasn’t capitalized well on the genius of the Maestro. This is because the BGM is hardly perceived in the film – about 65 per cent of the movie is on silent track showing either dialogues between the hero and heroine, hero and his family, hero and his friend – and there is lack of cinematic twists or oscillation of emotions to let music drive the rest. That is why, for fans of Ilaya Raja, the film is a disappointment- sans the songs – which are already a “hit”. As a composer, Ilaya Raja has had an outstanding record in giving memorable BGMs and RR with directors like Mani Ratnam, Ram Gopal Varma, Bapu, K Balachandar, Suresh Krissna, Vishwanath, BharatiRaja, Balu Mahendra, Singeetham Srinivasa Rao, Vamshi and others. It is clearly director’s fault in failing to utilize such a talent that comes rarer than a Halley’s comet. Something has gone wrong with the soundtrack, in short.




What’s the movie all about? Naani and Samantha play Varun and Nithya - two mador-each-other kids who grow up in the same school, go to the same college and have the hots for each other despite huge strata differences, so different that Nithya vacations in Australia whereas Varun goes for Annavaram. And the story continues with time lapses at different periods with many cold wars and hot patchups, without any variety. Varun wakes up one day to be career-conscious while driving some sense in Nithya too that she needs to find a purpose in life beyond him. He writes CAT exams, gets into IIM Kozhikode (where else, Kerala!) and makes his career count – and then revisits his first love – who has found a new calling. She is helping out victims of Tsunami creating a new household. Varun and Nithya overcome their egos and regain each other’s love with a happy ending. Samantha is gorgeous and cute, sometimes tries to look erotic and sensual at the same time. But her style of acting will run out of steam soon if she continues with her ibby-jibbies - girly giggles, self-conscious eye gazes and half-smiles. She is also getting into a rare trap of letting her voice-over Chinmayi dictate her body language – that will make her trapped in an alien voice without giving vent to her talent. In the golden days, you had voices like Saritha, Shilpa and Roja Ramani heighten the characters with their voices dubbed for femme fatales. But Chinmayi is a good singer but comes out dramatically different in voice over – and Samantha is an easy bait for her; here, Samantha dances to the husky and superficial voice of Chinmayi on screen. Naani is a great actor and has put in the right sincerity required for a role of this kind. He is never loud, always apt and remarkably cool.



The lighter moments in the film come when Krishnudu and Samantha’s friends appear on screen. But the movie is mostly a drag and lousy to watch. It is tediously long at 151 minutes, monologous at most times, and inspid when dialogues appear. Gautam Menon couldn’t prevent the shadow of “Yee maaya Chesaave” on the film at most places – the film is again a quasi-documentary of love from K-12 days to Career days, mostly shows dialogues between the boy and girl in the form of conflicts in ego, perceptions and attitudes, and again shows a happy ending. Unless there are more episodes of variety to project on screen from Gautam’s personal experiences, Gautam should put paid to these twilight sagas of love and return to action films or police investigation stories, which are his forte. The movie could have done better with editing, and screenplay deftness. Some of the scenes are abrupt and don't  connect with the previous ones.Lastly, he should get over the leanings of documentary film-makers; every scene comes with a subtitle: Nithya and Varun in school, Nithya and Varun at age 24 and so on. The audiences are too smarter to decipher these - if you want to show an annotated photo and video album from your personal life, show it on youtube and get more clicks but why does he have to inflict them on the audiences? On the whole, a boring and disappointing film from Mr Menon. I would rate it 1.5 on 5.