Showing posts with label NTR. Show all posts
Showing posts with label NTR. Show all posts

January 25, 2018

Actress Krishna Kumari is no more.


Sad to-  know of actress Krishna Kumari’s passing at age 85. In the history of Telugu Film Industry, Krishna Kumari will remembered as one of the most glamorous heroines in the B&W era making her presence felt in a range of plots from social to folklore to mythologicals. Acting in over 100 films, her strength is in projecting her classical looks into any role which demanded feminine grace, virtues of patience and generosity. What she lacked in versatility of her contemporaries like Savitri and Jamuna, she made up sheerly by her good temperament and immaculate dressing. From NTR to ANR, from Kantha Rao to Krishnam Raju, she was always ready to pair opposite anybody unmindful of her dizzy star power – which even overshadowed her own sister Sowcar Janaki who sprung into films much before her. Winning State Awards was easy for her because of the soberness she carried on screen and one never second-guessed whether she had any mirth off-screen except for those adventurous Janpad films she got paired alongwith Kantha Rao and Rajasree. The twist of history in Tollywood reveals that Krishna Kumari emerged like a dark horse (actually not dark!) when the film industry had an embargo on actress Jamuna after her tiff with NTR. The boycott lasted about five years enough for Krishna Kumari to double down on as many roles, meaty as well as one among the three heroines. Industry heaved a sigh of relief that there is a good alternative to Jamuna. But the gap was short-lived and Jamuna bounced back with her memorable performance in “Gundamma Katha”. Nevertheless, Krishna Kumari created an identity for herself in the South Indian Film Industry with a good mix of pace, initiative and tactfulness. The late NTR was so smitten by her that there is a rumour that both of them wanted to marry but NTR’s wife wouldn’t approve of it. That’s why some of the most romantic hits like “Bandipotu” etc came in that era.

It goes to the credit of Krishna Kumari that her feminine grace and dignified performances ensured that the most magical musical output of the golden era came as lilting songs featuring herself and heroes serenading her. You name any of Krishna Kumari’s films, and scores of melodies and superhit songs count – be it “Vagdaanam”, “Constable Kooturu”, “Kula Gotralu”, “Lakshadikari”, “Bharya Bhartalu”. Women in the 60s and 70s universally identified with her roles and the mesermerising music and the multi-star cast that usually earmarked her films ensured she is enshrined in our memory. She was also keen not to appear older or diseased in her films, a facet that kept her glamor quotient high even if it didn’t aid her career greatly after the nuanced Jamuna staged a comeback and other heroines like B.Saroja Devi, Kanchana, Vanisri etc surfaced. The best part of Krishna Kumari’s life and career is that she kept her dignity throughout, staying closer to her blood sister S.Janaki. Her part in elevating a heroine’s character without qualms and skin show is what is her greatest legacy. Also, if you go through her entire filmography, you may just find very few films like “Sampoorna Ramayanam” where she is seen as aged widow of King Dasaratha. Her obsession with only appearing in fairy tale visuals and happy frames is what makes her the original fruitcake in Tollywood. She reminds me of the Shakespeare quote and I would hence say: Some heroines are born great, some achieve greatness and some have greatness thrust upon them. Krishna Kumari is a heroine where Tollywood thrust greatness on her.


#KrishnaKumari #Tollywood #TFI #GoldenEraHeroines #TeluguFilmHeroines

December 7, 2016

Madam Dr Jayalalithaa Jayaraman

Watching the syrupy rendezvous of Madam Jayalalithaa with Simi Garewal after a day of heavy sea sentiments from all people gives you a good sense of life that Chief Minister J Jayalalithaa had lived since she was born. As she herself confessed, a third of her life was consumed by the attentive care of her mother and another third by the grasping vigil of the late MGR. So all the disruptions of the last third of her life seemed like undulating musical notes of a score composed by a leader who wanted to live life finally on her terms. And the way she did, it proves the will of the lady hard as nails – never budging, never relenting whether the opposition is a thespian like Karunanidhi, or an actor like Kamal Hassan or a seer like Sri Jayendra Saraswati.
If you have to examine her life, it has more drama, twists and turbulence than the length of the character of Aiswarya co-terminous with what Mani Ratnam created in the film “Iruvar”. As is evident now, not many lady politicians in world history have moved to a vantage position of strength starting with the disaffections and detriments that Jaya has faced. Father gone at age 2, separated from mother from age 5 to 10, pushed into different career choice from age 16, mother gone at age 23, some relationships not materializing into marriage later, and then the insurmountable barriers to her final ascent after the man who mentored her film career and built the foundation of political career – MGR – passes away in 1987. The odium she had to endure in the societal stereotypes of the 1980s instead of pushing her down became the podium of strength which zipped her forward. This is where Hillary Clinton, Indira Gandhi, Benazir Bhutto and Sonia Gandhi had much better upstart than Jayalalithaa Jayaraman. And then came the twin-sagas of humiliation at assembly and the dark-age dungeon she was thrown in the late 80s which didn’t break her spirit or her tenacity. In the first episode resembling the disrobing of Draupadi, it made Jaya take vow without any Lord Krishna’s help to step back in the Assembly only as a CM (which she did)). In the other episode which lasted many days in the inhuman prison cell of Chennai, Jaya had to withstand privations that even the likes of Tanguturi Prakasam couldn’t endure. Many felt it is persisting with the woeful prison days that most of Jayalalithaa’s ill-health started – which took a final toll on her life.
Winning six terms is no mean achievement for any seasoned politician but Jaya did it with impunity and alacrity. Her stamina and the fire in belly never dipped and neither has her appetite for firing salvos on her greatest foes – and each term was getting better than the previous in terms of her dignified responses, even as her political opponents turned more vicious and treacherous. As a state politician, she was vainglorious about her party, her constituencies and her political stakes and that defined most of the terms of engagement with the world outside her state – be it centre, press or FDI. An example is the way she influenced the late N T Rama Rao in the 80s to firestart the Telugu Ganga project which helped Chennai tide over the water crisis. NTR agreed to divert Krishna river water but only if Jaya agreed to “Telugu Ganga”. Jaya agreed and the people of TN were grateful for the gesture. In many other cases, Jaya’s sneezes and coughs during the NDA government’s tumultuous term between 1998 and 2004 distorted her image as a dependable ally making even stock markets dance to her tunes like the Pied Piper of Hamlin but Jaya took stand on issues which merely strengthened her image in the state. Not many Chief Ministers had the assertiveness that Jaya had in dealing firmly with the centre.
Her fight with the Seer of Kanchi showed her obstinacy. While the real issue turned out to be over the sellout of a Medical College which the seer escalated to the centre igniting Madam’s wrath, the world attention was on another angle. She was clear on building the kind of legacy that the poor will remember in all the franchisees of shops dishing out medications to rice. But she was also aware of giving a stable and efficient administration that unlocks the human potential of TN especially in continuing the massive reservation policy which was flagged off first by the late MGR. Jaya has ensured the state has maintained a balance between Welfare economics and Economic Growth. In 1983-84, Tamil Nadu produced only 2000 engineering graduates but now more than two lakh engineers graduate out of 652 colleges. While reservation in educational colleges went up from 30 per cent to 69 per cent, the trend of private groups starting professional courses caught on with other states like AP, Karnataka and Maharashtra. The best thing is the way clearances were given for making Manufacturing hubs in and around Chennai beginning with Auto manufacture and allied components. Today, TN has more hubs and well-developed tier II and III towns than any other state, tag of the most urbanized state in the country, more diversified industries evenly distributed among the districts and industry growing above the national average. Until the Gujarat model came, TN was always shining as the third largest in terms of GDP growth rate, according to noted journalist Susheela Ravindranath from her book SURGE . And Chennai is among the top 10 most attractive outsourcing locations globally (ranked no.5). When the big flood came last year, despite casualties and much flak from the citizens, Jaya government managed to keep the news of death of dozens of cab drivers in IT hub hushed up so that the image of Chennai as India’s second-largest exporter of IT services remains intact. So much for her policies, Tamil Nadu also attracted the pledge of Rs.2.4 lakh crore worth of investments last year, double the initial target. The Niti Ayog also mentioned that the amended Land Acquisition Act of Tamil Nadu is the ideal benchmark worthy of emulation by all other states in India. The activation of Economic growth engines that happened in Jaya’s term shows that CM Jaya not only read the pulse of the poor by dishing out freebies and pamering them with cheap food but also the mood of the skilled manpower and the resourceful entrepreneurs of the state in harnessing opportunities that can propel the state forward.
All the achievements of Jaya the CM show her to be extremely skillful, proactive and feedback-oriented which allowed her party to consolidate position to unassailable lead over DMK and other rivals. But the film career is something that is equally nonpareil for any film star. Fluent in all the South Indian languages, She acted in an English film ‘Epistle’ and a Hindi film `Ijjat’ besides over 140 films in Tamil, Telugu, Kannada and Malayalam. Right from her debut Tamil film “Vennira Adai”, she had a charishma and cuteness that made her the most-sought-after heroine of the 60s and 70s. Supple and svelte, graceful and gaitly and gifted with a willowy dancing form, Jaya had tasted success from her first film making the top stars of the South cast her in consecutive films. Look at the pairing in her journey – 28 films with MGR, 17 films with Sivaji Ganesan and 11 films with NTR besides acting with every top and emerging hero of those times – Rajkumar, ANR, Shoban Babu, Krishna, Ravichandran, Kalyan Kumar, and others achieving a 80 per cent superhit rate. Almost all the heroes enhanced their auras because of the glamor oozed out by Jayalalithaa.
Naturally, she won three Filmfares which includes the very first Filmfare for Best Actress Award in 1972 when it was introduced. One of them was for a Telugu film “Sri Krishna Satya” in 1972. She also dubbed her own voice (something today’s heroines ought to learn) and sung a couple of songs including with legends like T.M.Soundarajan and S.P.Balasubramaniam. Unlike others, she resisted temptation to act in more films after plunging into politics. That’s what set her apart from other actor-turned-politicians. Despite delivering huge hits and being the highest paid actor for some years, she never compromised on her roles and performances and more importantly, never threw her weight around.
As her many interviews and lighter moments reveal, Jaya raced to the top of the films and then aced up on how to crack it in politics. Ambition and serene confidence drove her from films to politics and everywhere she dominated the scene – in films, for example, it was she who replaced B.Saroja Devi who acted in 27 films with MGR to overtake her in the pairing. She acted in roles which had western costumes as well as mythological characters like Satya Bhama. Even as she cruised to the top spot in Tamil films, her foundations for a political career were carefully laid through her multilingual fluency and English which remained her forte in films. Reading novels, current affairs and nonfiction and writers like Ruskin Bond came easy for her finessing her world views and sensibilities.
Shaping her career and achieving her goals became a heuristic progression for her – something that many women politicians in India and the world lack in depth. Not many have shown the resilience and the steely resolve that Jayalalithaa has shown, neither have they shown how to perfect the poise and the carefully cultivated public calm that she displayed always. It is tough to survive and thrive in both the worlds of films and politics especially when both are dominated by men but Jaya’s life and times show that with grit and guts, even a woman can achieve glory and public adulation if she determines. That is her greatest legacy to women in particular and Indians in general. Life kept changing plans for her from the time she was born, but she kept pushing ahead in her own ways until the terms became endearing for her until the last. Salute the Iron Lady who could have also played a national role had the stars aligned. Yes, there were issues of nepotism, conceit, corruption, delusions of greatness and superstitious beliefs (from Numerology and Vaastu to Astrology) but her personality overshadowed her fixations and made her one of the most epoch-making Diva-turned politicians of our time.

September 2, 2016

“Janata Garage” (Telugu Film Review)

Koratala Siva is a director who believes in making meaningful commercial films with an underlying message. His previous films “Mirchi” and “Srimanthudu” have met with huge success even if the initial response has been slow to muted. What sets him apart from the usual mongrels directing commercial films is the unhurried pace of narration, and honesty in story-telling. Even the audio tracks of his films released have a touch of this honesty. Many times, the audience keeps guessing on the order of songs in the audio CD because the makers juggle the order of songs. But from the film “Mirchi” onwards, Koratala Siva insists the songs on the catalogue appear in the same order they appear in the film – that’s quite remarkable. It is proof of the director’s intent to never cheat you – either by meaningless side-shows or flippant comedy for the sake of it. How does Janata Garage fare? First half of the film sizzles with good romance, towering performances, great songs and impactful scenes. But the second half loses its way after a brilliant scene in a government office starring NTR Jr. and Rajiv Kanakala.

For NTR Jr. the film is one major step in the right direction – of moving away from lineage-heavy dialogues and mass-image roles – of becoming a metrosexual, uber cool actor who will pack a punch with subtlety and method acting. He excels in his dances and gives another career-best performance by staying true to the mood of his role as a nature-lover and environmental activist who tames villains. The best part of NTR is he takes a backseat in few crucial scenes to elevate the Superstar Mohanlal wherever he needs to – right from titles (where Mohanlal’s name appears) to the last scene of the film (where again Mohanlal finishes off). In a film with mighty starcast from Mohanlal to NTR to Saikumar to Sachin Khandekar to Samantha and Nitya Menen, rarely do you find the hero’s introduction delayed by 21 minutes after the film starts.

The story is not new: Mohanlal is a self-made repairman who builds a giant garage called `Janata Garage’ in Hyderabad repairing all wheeled vehicles. He also attends to the worries of people and hence the caption “All things repaired here” which brings his troop of men in direct conflict with a billionaire called Mukesh (sounds eerie, right?). NTR, on the other hand, lives in Mumbai with his uncle Suresh’s family pursuing his interests in nature conservation. Destiny and family history eventually brings NTR into the portals of Janata Garage but there are some hidden sources of conflict from within which pull the story. Even though the story is familiar, the treatment and the characters built into the story build it out for a watchable though predictable narrative  - something that is bereft of regular formula stuff.

What pulls down the film is the second half with a heavy dose of violence, an item song (that is avoidable and deplorable) and monotonous. It smacks of lazy writing and momentary lapse in clarity that pulls the graph dramatically lower than the feeling you get at interval time. A lot of ends which could have got tied up in the second half hang out loose – the character of Samantha who cutely tailgates NTR in the first half peters out, Suresh and Sitara who doted on NTR never come back in his life again, the environment activist in NTR who is so vocal in the first half goes to sleep once NTR takes up the causes of JG in the second half…It is things like these which make the 162 minute film a little less savory than a four-course meal, it is okay to skip the desert but don’t take the breads away from the table, the audience may ask. However, what redeems the film is the measured characterisation of the principal and side actors in the film – Mohanlal, NTR, Sachin Khandekar, Unni Mukundan (as Mohanlal’s son), Saikumar, Suresh, Rajiv Kanakala, Ajay and Bhargavi. 

Of all, the surprising elevation comes from unexpected characters like Rajiv Kanakala and the subtle romantic track between Ajay and Bhargavi. Rajiv’s character also elevates the crux of the message that Koratala Siva wants to spread through the film about principled and integrity-based living. Ajay’s characterisation leaves you with a heavy heart. Almost all the rest of the pack from Saikumar, Suresh and Sachin Khedekar make their moments of impact on screen. Unni Mukundan, the Malayali actor who plays Mohanlal’s son stands out with a good performance that shows calibre – there are shades of the film “Shakti” (Dilip Kumar and Amitabh Bachchan) in the way his role develops. Interestingly, Sachin gets to dub his own voice in Telugu whereas Mohanlal (who dubbed himself for “Manamanthaa”) borrows another baritone for his role. Of all the roles, Mohanlal’s role is consistent throughout the film – he stays in the zone of a comatose, good Samaritan and can fire up a lighthouse without even a twitch on his chubby cheeks, his eyes have that magical power. Even the way he takes to stunts ought to be a lesson for NTR and other macho heroes – you don’t need to bash up baddies till they crumble like nine pins, you just need a symbolic fight once, the rest is banality. That’s what makes the film a bore in the second half. After a dramatic fight by NTR showing the five elements of nature in a demonstrative fight with the baddies, he keeps using his brawn instead of brain in the second half to tame the villains which dilutes the intensity of the original character – a cardinal mistake.

On the whole, the film dazzles in technical departments – dialogues, cinematography (Thiru), music (DSP) and set design. Thiru’s cinematography is great but if greatness is all about showing “yellow” colors oozing out of every frame, then the eye clamors for more. Music by DSP is just about apt both in the BGM and songs – he uses silence more at crucial screen moments which build a subtle tension in the film. The song, set design and choreography in “Apple Beauty” make it a visual treat to watch with B&W images of fallen motifs from modern wonders of the world. The song showing a nature trek by the hero and the two heroines Nitya and Samantha can ensnare anybody into love for nature and serenity. Had the editing been sharper in the second half, this film would have got a blockbuster status but for that to happen, the excessive stunts, the item song on Kajal (what a waste!) and a few dragging scenes should have got mercilessly chopped. NTR’s twelve minute oration in the Government Municipal office will become the most famous scene in his career and that itself is a paisa vasool scene for me which can rebuild foundations of a moralistic society in a corruption-free India.

Finally, one needs to assess this film differently despite scant comedy, lack of fan-hungry entertainment, incomplete romance or a lousy climax. In the past, class directors used to get atleast a dozen films or more to establish their credentials as makers with a different idiom and style and who are here to stay. Nowadays, the directors get only two or three films to establish what they stand for and how they mould their film templates. Koratala Siva has established himself as a meangingful director in just three films – and despite flaws, deserves praise for making a film worth watching once. NTR Jr. too is directionally moving correctly towards a mass-affluent image and this film underlines that intent one more time after “Naannaku Prematho”. He may have erred on the overall finishing of the plot because he doesn’t have the benefit of a mega family where about half-dozen people hear a script before okaying it with more modifications. But that doesn’t make the film less worthy. It can be watched with family too.


Rating: 3/5

September 7, 2015

Bapu-Ramana and NTR - The Story of An Improbable Association

The improbable origins and the legacy of friendship between Bapu-Ramana and the late NT Rama Rao in Two parts:

http://www.telugu360.com/bapu-ramana-with-ntr-not-a-fairy-tale-beginning-but-a-fairy-tale-ending/

http://www.telugu360.com/bapu-ramana-with-ntr-not-a-fairy-tale-beginning-but-a-fairy-tale-ending-2/


March 9, 2015

Dr D Ramanaidu - A legend among producers

D.Ramanaidu’s contribution to Indian Cinema in general and Telugu Film Industry in particular doesn’t end with his cremation. The man has played a major part in the evolution of films as a mass medium to growing their appeal and even profiting from their continuing appeal. On face value, the statistics of his achievements as a film producer are staggering: over 150 films in 15 languages including English, debut chances for 21 directors and a few music directors and several technicians. His life is an outstandanding example of how to choose a field you love and then grow in that field to dizzy heights and more importantly, stay relevant and be in the thick of action till the very end.  At the time of his passing, “Gopala Gopala” produced by his son is still running in theatres and a blockbuster called “Bahubali” is in production stages in which his grandson plays a pivotal role.The legacy created by Dr.D Ramanaidu is not just the negatives of those films or the studio but the values which are continuing with his sons Suresh and Venkatesh and his grandsons. His contribution and overall impact on the film industry is a nonpareil in the world of cinema.

He made epic films with superstars of the day, cast them in dual roles (“Ramudu Bheemudu”), made scripts out of top-notch novelists of the day (“Premnagar”, “Secretary”,”Jeevana Tarangalu”, “Agnipoolu”), created modern-day multi-starters with both heroes (Krishna, Sobhanbabu) and heroines (Jayaprada, Sridevi) and also several low-budget films once the budgets started soaring because of hero remunerations. He started productions in the name of his eldest son Suresh and created a decent-scale studio which allows film producers to walk out with the first copy of the film if they have a script in hand - it used to be the tagline in nineties itself before Ramoji Rao came and changed the mindset of thinking from small to big. Dr.Ramanaidu also remade his films into Hindi and created big hits which helped launch stars like Jitendra and gave a second lease to actors like Rajesh Khanna and Anil Kapoor. His model of film production is that he treated it like a sacred business where all the team members are treated well but expected to be professional. There were reports in trade weeklies of how Dr Ramanaidu used to return extra copies of video cassettes or prints to some distributors in north who didn’t budget correctly. Coming from agricultural background in Karamcheedu helped Naidu to count the pennies so that he won’t become a pound-foolish producer.
If you study the careers of the people who preceded Dr Ramannaidu, it appears Naidu learnt his lessons from them too. The most famous example is Dr Raghupati Venkayya - in whose name the most famous and prestigious award for contribution to Telugu Film Industry is given - an equivalent to Dada Saheb Phalke Award. Dr Raghupati Venkayya made the first talkie in Telugu and started a production company with his son R.Prakash. But where Dr Venkayya erred was in not entrusting the financial affairs of the studio to his son. Subsequently, Dr Venkayya’s company was mishandled due to staff ineptitude and financial mismanagement. His company ran into debt and Dr Venkayya became bankrupt. In many ways, Dr Ramanaidu’s life is a mirror reflection of the very opposite of what Dr Venkayya did; Dr Naidu gave his first son free rein in running the production house and the staff were treated well but with rewards for performance and stick for slippages. Which is why, when a few years back one of the foreign production houses came to Hyderabad to buy out Ramanaidu Studios, lock stock and barrel, the offer came to a staggering Rs.1400 crores. Dr Naidu shot down any proposal to sell the studios while he is still alive.

Dr Naidu may have well had a point in holding out. He has little reasons to sell - unlike Padmalaya Studios which had elephantine debt before selling to Zee or Annapurna Studios which had been constructed on land pre-leased from Government. Dr Naidu’s family has ensured that they are a formidable force not only in film production and post-production but also in distribution. Towards the end of the last decade before 2000, they have started cornering the exhibition trade after tasting blood in distribution and production. Lease Rentals were hiked by 200 per cent which allowed several hundreds of theatre-owners to become part of the distribution chain of Suresh Productions - this was soon to become a trend that made many distributors lament but it created an apple-pie of a fabulous business model that dictated the content that is exhibited for the last decade. Even the most talented film-makers had to seek the powerhouse distribution chain controlled by Dr Naidu’s family whether it is “Eega”, “Ashta Chamma”, “Uyyala Jhampala” or the upcoming “Bahubali”. Very few production houses in the country wield so much influence at the box-office as D.Ramanaidu’s family did. Which is why, offers will never cease to pour in. Ramanaidu’s son Suresh has not only consolidated the family business towards safety but also towards a stronghold status in the way the rentals prop up a revenue model which was not even funded by banks until a decade back. Today, even working capital finance is given to his company and a few other companies. Venkatesh, his second son, went on to become the producer’s son who remains always a producer’s hero - he belted many hits in his career, became a safe hero, helped deliver one-sixth of his career hits in his father’s production banner and helped create many multi-starrer movies. Venkatesh and Suresh together held the flag aloft and created the most successful film business family in South or North India. Only Yash Chopra films comes close to what Ramanaidu’s family achieves but Yash Chopra hardly made films in South.

Despite a cult status and a towering influence, Ramanaidu never shied from public service and his recognition as a TDP MLA is proof of his love for politics and achievements as the best Parliamentarian in 2003. Many swear by the support and moral strength given by Ramanaidu in their personal struggles and careers, for many Ramanaidus’ business acumen and discipline in fiscal affairs was a guide and pathfinder. Producers like VB Rajendra Prasad, Murali Mohan, Achi Reddy, KS Rama Rao, MS Raju, Dil Raju and now Bandla Ganesh sought his advice on making successful films and staying solvent - many listened but few benefited from Naidu’s sage counsel. But despite the many highs of Ramanaidu’s career and filmography, if one must objectively assess the man’s impact on Indian Cinema, there are few facets that glare out. By treating film business as much like any other business of trading/speculation/profiteering etc, Ramanaidu has been an exemplar of seeking risk-adjusted returns. So, we find that except for a few at the initial phase, mid-phase and some in the last decade of 90s, most of his films were forgettable hits which didn’t have the class appeal of some of the other producers and makers who made fewer than one tenth of the films that Ramanaidu made - like Murari, Krishnamraju, Krishna Reddy, Aswini Dutt, ANR, NTR, Bapu-Ramana, Edida Nageswara Rao, etc.). His films had the most formulaic content and represented a hackneyed mishmash of the hollowest content which also had the stigma of obscenity, truth be told. Except in occasional films when a classy actor like Kamal Hassan starred in “Indrudu Chandrudu” or a Suresh Krishna directed “Prema”, Naidu’s films after ANR and NTR era were lackadaisical and hardly classics. Loud dialogues, crazy stunts, socialistic and anachronistic themes and puerile songs with belly-dancing and hip-shaking item songs were the mainstay of his films - until son Suresh and Venkatesh changed most of that since they took centrestage. The films he re-made in Hindi with Jitendra, Rajesh Khanna and Anil Kapoor and even those with Venkatesh were intensely feudal and mascochist which merely perpetuated the male chauvinist appeal of the audiences. Towards the last decade, he virtually moved out of production scene and tried to salvage the catalogue value with arty films and message-oriented films. The last good film from his involvement was “Madhumaasam”. 

Despite the flaws which are natural in any film personality’s colossal career, Ramanaidu is a life that will be revered and respected as long as indian Cinema stands. The man gave us a volume of output that will remain forever unsurpassed; he made films as a career and as a business more lucrative than any other film-maker. He had a well-lived life, long enough to deeply impact Telugu film industry as it stands in Hyderabad today with wings spread strategically to wherever it can next re-locate or consolidate itself. Yes, there are regrets too - that he never bought more land than the sprawling acreage of Ramanaidu Studios where you get the best vantage view of the city, that he never directed a film, that he never made a multi-starrer with Rajinikanth and Kamal Hassan, that he never got a superstar after Chiranjeevi to act, that he couldn’t make a remake of “Ramudu Bheemudu” with NTR Jr. The list may go on like a litany but the legacy he left is richer than what the unfinished business could have achieved. Respect, for Dr.Ramanaidu always. R.I.P

#Ramanaidu #SureshProductions #DRamanaidu #DrRamanaidu #Tollywood #FilmIndustry #Bollywood #Indianfilmindustry #MovieReviews

February 14, 2015

"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

#Temper #NTRJr #NTR #Tollywood #MovieReviews #PuriJagannadh #TemperMovie 

December 2, 2014

NTR - Renaming after a Legend

I am not at all for either re-naming airports or universities after the initial signature is done. But people in both Telugu states should spare a thought or two for NTR as a brand name. He has done a lot for carving out an identity for Telugus in a world bisieged by South Indian motifs mostly thought of as Tamils or Madrasis. What is the legacy that NTR created for the Telugus?

Films to start with - playing roles that nobody else would have enacted - as a eunuch, as the main villains in Ramayan and Mahabharat, as tragic poet who crooned over women and died a pauper, as an Indian Nostradamus, as the grandsire of Mahabharat, as the architect of the Vijaynagar Empire, many social roles and of course, as Lord Krishna and Rama. He was perceived as Vishnu-blue avatar long before we switched to color films. His image as Vishnu avatar got so much burned in South India that when BR Chopra was making the Mahabharat serial on DD, the maker team approached NT Rama Rao for playing the role of Krishna. NTR said," Chopraji, the roles I played as Krishna and Rama is the exclusive privilege of Telugu people. I don't want any other language to get access to that privilege." Of course, the critics panned it as old-fashioned parochialism or inability to wear grease paints to come out looking fresh as Krishna. But the point is made - NTR loved Telugu language and culture, sprinkled Telugu films with high falatun Telugu dialogues which almost run into pages for each scene.

Film theatres and amphittheatres. Apart from Tarakarama and Ramakrishna theatres which were top of the tree cinema halls in those times, he created the RK Studios and produced hugely successful films. He created an open theatre without entry ticket for the masses at Public Gardens known as Lalitha Kala Thoranam - but even that legacy is shamefully erased by the likes of T Subbirami Reddy.

Self-Esteem for the Telugus. He was quick to snatch the opportunity when Rajiv Gandhi rebuked T Anjaiah at the Begumpet airport. He spared no effort in entering politics because he felt the Telugu pride was wounded. Nobody else built a party in that short a period to get elected as CM. But of course, there is also ambition and delusions of grandeur behind this move as some would say. About an year before NTR thought of politics, he was asked to star in a short film on the great Indian Nostradamus - the 14th century Sage Veerabhrahmendra Swami from the Andhra who made many famous predictions. Amongst the many predictions he made were these: That a bania would bring freedom to India from the British. That a widow would rule the country. And NTR read  another prediction: A man with a painted face will rule Andhra. And he thought why can't it be him? Thats how some say he plunged into politics. And he went about it methodically. He hired the greatest tax consultant of the time - NA Palkiwala, filed his returns spick and span - distributed around Rs.125 crores of his networth at that time into eleven parts to his children, willed all his property and started Telugu Desam Party. The rest is history.

Love for Telugus died with him. All through his career in politics, the love for Telugus never dimmed. When the late PV Narasimha Rao became the Prime Minister of India, NTR got a great chance to prove his love for Telugu pride. A contest was shaping up in Nandyal constituency as PVNR had to win to stay elected in the parliament as an MP and he was already a Prime Minister. NTR decided to give full support to Narasimha Rao even though he was from Congress-I. He said  the Telugus will not fight against one another in electing their beloved son. Rao got elected and expressed his gratitude to both NTR and Telugu people.

Video lessons on Telugu language. NTR loved Telugu language so much he wanted to create a lasting legacy for the next gen of Telugus. He asked the great Bapu Ramana team to create a video series on the language and its nuances. He gave a lavish budget and the duo went about diligently, created a master series on which the copyright is with the state government. It was 80 per cent complete but got stopped after the next incumbent government that came after NTR's loss in the 90s stopped the project itself. Thats how others think - they failed to see the thread of Telugu culture and heritage.

Telangana government should recognise this atleast - that NTR was a ubiquitous brand for the Telugus and raising holy hell over his name attached to the Airport terminal is in bad taste. As somebody said, if NTR is an anathema, you have to rename your son too. I am not saying NTR is a Yuga Purusha or a God, but he did his best to raise the market cap of Telugus in a world full of South Indian stereotypes dominated by others.

#NTR #RenamingRGIA #TeluguPride #Telugu #TeluguLanguage #TeluguCulture #NTRamaRao #HyderabadAirport

October 15, 2014

Tollywood Donations for Vizag: Enough? Good Enough?


Tollywood has donated Rs.2.4 crores so far to the city of Vizag via CM's Relief Fund. Good initiative. But is it good enough? If you look at the history of natural calamities that hit the coastal Andhra both in late 70s or the early 90s, the Telugu Film Industry (TFI) played a pivotal role in mobilising resources in kind and cash for the ravages caused by nature. Both NTR and ANR and others led from the front in touring the state while they were flanked by all the leading actors and actresses of those times. I was a toddler in 70s when NTR, Jamuna, and several others passed our two-room house in Narayanguda - my parents donated cash and clothes. Those kind of initiatives are what are needed by the Industry that churns out movies - truly the opium of the masses. Each generation of TFI owes it on them to take such leadership initiative because the effect of such efforts galvanise many others to participate in the rehabilitation work as against mere tokenism. Today, it has become more a "you start- I will also announce something" trend. At a time when Vizag  has created the infrastructure to make a film hub and the city and its vast beach-side were exploited by many film-makers from Balachander to Jandhyala to EVV to Trivikram, the TFI should go a step beyond making chequebook donations to the "city of destiny" (a sobriquet given by Bharat Ratna Mokshagundam Visweshwarayya).

The figures also don't just add up to the math or the effect of inflation. Vizag and its surroundings usually quote at a slight discount to the distribution rights of Nizam territory. "Aagadu" was sold for Rs.5.5 crores in Vizag, "Govindu Andari Vaadele..." for about Rs.5 crores and so on. So, you get the idea. Contributions by the superstars and mega omega stars is not even five per cent of the distribution rights for one film. Infact, a contribution of Sampoornesh Babu's contribution is technically greater than the stars because this Babu acted in just one film and he must have given ten per cent of his takings from the film! In those days, the days of NTR and ANR, the donations were given out either as a percentage of their networth or a percentage of their annual takings which when compounded with the overall mobilisation of public monies that get enlisted by propaganda and canvassing - the benchmarks were higher than what today's generation of top heroes give out. Cinema has a symbiotic relationship with the society and during bad times, cinema has to reach out better than giving out token amounts - because it is the only medium that cuts across the lines and mobilise mass support. Better than most TV media which are clueless, heartless and woefully cynical. It's a shame if TFI can't rise to the occasion. 


#Tollywood #VizagCycloneRelief #HudHudReliefEfforts #TFI #MovieReviews #FilmStudio #Diviseema #TollywoodDonates

May 26, 2014

"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.

April 29, 2014

"Pratinidhi" (Telugu Film Review)

Nara Rohit's films have so far been different. While "Baanam" was revolutionary, "Solo" was outright family entertainer with great comedy and performances. "Pratinidhi" promised to be intriguing from the trailer days and it was poetically timed for the elections but don't be over-expectant about the hype. It has some eye-popping provocations about the issues common man faces and packages them quite intelligently and convincingly in the backdrop of an exciting kidnap drama with a brief flashback but the narrative could have been better and arresting.

Prashant Mandava directs Nara Rohit as a people's representative who kidnaps the Chief Minister (Kota Srinivasa Rao)  when he comes to innaugurate an Old Age Home. He imprisons self and the CM in the vast house with a threat to kill the CM unless his demands are met. What are these demands? They grow, at first sight, sillier and curioser by the hour until the whole state gets swept by a tsunami of attention and goodwill. Police Commissioner (Posani Krishna Murali) encircles the house where the kidnapper relays his messages and demands while trying to unfathom the mysterious kidnapper's whereabouts and identity through only one source - Rohit's friend who agrees to share details of his friendship and association. The demands, those silly demands, meanwhile outgrow into a pattern that seems to connect the dots of a lot of issues and a few mysteries of a missing man and his son. The demands raised by Rohit are valid and thoroughly engrossing and tell a lot about the state of our democracy and the pace at which the government works: Despite the media's all-pervasive nature and 24/7 reporting, one of the key messages is that there is a paradox of choice amidst plenty of options: nobody really gets the big picture in the immediate aftermath of an event because the media doesn't ask questions that illuminate or decipher the truth.

The truth is unfolded, layer by layer, by the protagonist Nara Rohit himself, in the messages relayed outside the building and in his articulate interaction with Kota Srinivasa Rao who as the CM who gave one of his career-best performances. Kota asks questions that enhance the characterisation of himself and Rohit in ways that move the story forward. While the first half is about the demands, the second half gives an good twist to the plot with more seiousness sans romance and dull flashback which mars a few reels earlier. Why does the government take two hours to accept one simple demand? Can we de-notify the currency notes of higher denomination  - to drive out black money out of the "M3" circulation in the economy? Where is the money collected from the odd amounts rounded off on account of stupid taxes, cesses and VAT levies on petroleum, diesel and even hotel services going to? For example, if it costs Rs.72.84 per litre and we pay Rs.73, the rounding error itself comes to on a ball-park estimate of Rs.120 crore population times Rupees Two per day, as per the writer in the film.. That's a fair point and something that is fuelling black money and making some people richer.

With audacious demands like these underpinning the economic logic, Rohit gets war-room attention of the politicians and begins a change in the CM itself. The approach to this film is neat and fresh without stunts, vulgar dances or item songs or garrulous comedy or silly romance. Technically, there is only one song in the first half to give romantic relief with a forgettable heroine Shubra Ayyappa who is a let down. The second half has a few background songs that step on the gas for the hero's surge in popularity as the media amplifies his messages and their broader econo-political appeal. The approach to the story and the screenplay reminds you of "Wednesday" movie where the hero and the anti-hero see a paradigm-shift in their world views.

A promising tale told in 139 minutes with plenty of food for thought for our system and the polity that rides it. Good dialogues in the film by Rohit and Kota create an encore feeling. Music by Sai Kartheek is turning out better in RR , this is his second impressive BGM score after "Rowdy". Performances wise, Rohit is average though he has a baritone voice that is one of the best male voices in Tollywood today after Pawan Kalyan. But his repertoire is limited to poker-faced delivery that lacks variety and killer instinct. The most notable performance, make no mistake is that of Kota Srinivasa Rao, followed by Posani Krishna Murali. Director Prashant Mandava seems promising enough to tell a good story but the same film could have been made more intelligently and entertainingly to create a wider connect - the director has made the corruption issue more a monetary policy issue and leaves out many inconvenient issues that rock the state and the nation. What is tasteless is to show the late NTR as a great leader/thinker in the titles equating him with the likes of Che Guera, Gandhi, Tagore, etc. Secondly, I did notice that at interval time, they show all the past CMs of the state of AP  - Naidu, Rosaiah, NTR again, N Janardhan Reddy but show YSR in a split-micro-second. That makes the visuals political. Barring these, "Pratinidhi" is a watchable film with strong subtexts and thought-provoking issues. It could have been made better and more intense but is still better than so many commercial potboilers that come and go but don't linger on as much as "Pratinidhi".
Rating: 3/5

"Jailor" (Telugu/Tamil) Movie Review: Electrifying!

        "Jailer" is an electrifying entertainer in commercial format by Nelson who always builds a complex web of crime and police...