Krishnam Vande Jagadgurum

Krishnam-vande-jagadgurum-poster

Krishnam Vande Jagadgurum is complex, controlled, visually beautiful and highly entertaining. Taking themes ranging from corruption, environmental vandalism and the disenfranchisement of the poor to Telugu film standards of revenge and justice, director Krish keeps it all in hand, gathering momentum to the dramatic showdown.

B Tech Babu (Rana) is an actor in his grandfather’s traditional Surabhi theatre troupe, performing devotional plays as well as ones based on old films and stories. (I was delighted to recognise bits of Patala Bhairavi)  He is planning to leave the theatre and go work in the US. But Subramanyam (Kota Srinivasa Rao) dies and Babu feels compelled to ensure his final play is staged at a fair in Bellary. Devika (Nayantara) is in the region filming an expose of land grabs and illegal mining practices. She interviews workers and tracks down rural folks displaced from their lands. Boy meets girl, he is smitten, she is annoyed, but they both keep on with their work and their romantic relationship is a minor facet of the story. Their connection grows as they are thrown together under an external threat. Redappa (Milind Gunaji) is the villain of the piece. His goons threaten the theatre company and he is out to prevent any interference in his mining business so has his sights on Devika. He has a deeper tie to Babu than is initially apparent and his relationship to all the various players is gradually revealed.

It is a little complicated but I felt I followed most of the plot despite this being another Adventure Without Subtitles. I had to really concentrate on who was who, and was completely taken in by one of the plot twists until the truth was revealed. I saw this with two friends – one who dislikes seeing unsubtitled films and the other had only seen one other Telugu film – and they both found it hard going. The audience were whistling, cheering and laughing at a lot of the dialogue, real belly laughs at that, so I am looking forward to seeing this with subtitles. Hopefully the DVD doesn’t take as long to release as Vedam did.

KVJ backstage Babu

I think this is easily Rana’s best performance to date. When Babu’s grandfather died, there was no weeping and chest beating but a definite sadness and quiet loss. There are lighter moments and some glimpses of vulnerability as well as the heroics. Rana’s dialogue delivery and the costumes for the plays within the movie were lots of fun.

KVJ Babu takes a break

He switched between young lad about town and theatrical mode with ease. I got a sense of the character’s struggle with tradition and his fundamental sense of fair play. The fight scenes were excellent and Krish knew how to use his hero to best effect. All Rana did in one sequence was stand suddenly and the audience cheered madly as the bad guy’s knee and hip joints popped and crunched. Plus Rana has Toes of Death.

Despite his ability to carry off a choreographed fight Rana cannot do the same for the other kind of choreography. He can execute dance steps but has no timing at all. The editing was very kind, and it largely worked in Ranga Marthanda, but his shortcomings were all too evident. I wonder if now Charan and Bunny are married, they don’t have time to coach their mate. Poor Rana. But he has an excellent heroic run and he is very tall. My rowing coach used to say to me whenever I had had a disastrous training session ‘you can learn technique but you can’t learn height’.

KVJ Devika at work

Nayantara is glammed up with false lashes and shiny perfect hair, but Devika is primarily focussed on her film and the cause she hopes to help. She has some contact with the CBI and I am not sure whether they were using her to get evidence or she was informing to them. There is a tough side to her and she doesn’t just sit back and wait for the men to sort things out.

Nayantara and Rana

There is no chemistry between Babu and Devika at first as the interest is on his side and he got her offside by acting like an idiot, but it does develop. Devika described Babu to her mother on the phone but that was based on him just being in front of her and looking good so I think she was giving her mum a wishlist rather than declaring an interest. Regardless, the romance is not necessary to make the story development make sense as the characters have other motives for their actions. Nayantara conveyed a sense of purpose and resilience often lacking in filmi heroines.

KVJ Venkatesh Sameera and Rana

The music sounded too familiar at times so I wondered if Mani Sharma had recycled some of his other work. The songs pop up all over the place but they provide a timeout from the action or explain important theories like ‘media is a circus’. If you have ever wondered what Rana would look like as a dwarf, on stilts, or wearing a lilac sequinned cowboy hat ‘Spicy Spicy Girl’ will provide answers. And they solved his dancing issues by getting him to flex to the beat. Venkatesh made a guest appearance in a fun item number with Sameera Reddy and the audience went nuts. The second item was not strictly necessary (are they ever?) but Hazel Keech was just dire. Oh for the love of Helen –  hire a girl who can dance!

KVJ Theatre Company

This is such a beautiful production. Backstage glimpses of the theatre company are dominated by jewel tones, gilding and rich fabrics in honeyed light while the town scenes are sun bleached with harsh shadows. The fairground lights and shapes were used effectively without being overwhelming. The contrast between the forest and the mines could not be more pointed.  People were dressed appropriate to their characters and apart from the songs, the costume team only got away with one lurid shirt – Redappa’s main enforcer wore a fetching mauve satin with shiny spots. A special shout out to whoever designed the theatre costumes for Rana – his Narasimha look was quite something.

KVJ Rana as Narasimha

A lot of the violence was directed at mouths – people had their tongues cut out, their lips pulled at, were forced to swallow boiling water. It was disturbing at times but seemed to be a literal representation of power silencing the poor and unrepresented. The action scenes use a lot of wire work and different film techniques to heighten the drama. The climax fight merges the symbolism of Narasimha with the film hero style in extravagant and memorable fashion.

The support cast includes Brahmi in a pointless gig as a rival actor, Satyam Rajesh and Raghu Babu as members of Subramanyam’s troupe, Murali Krishna Posani as a comedy taxi driver, Adithya as Babu’s murdered father, Murli Sharma in a pivotal role and many others. I liked seeing Krish’s attention to detail in the background scenes. The Surabhi company members were often seen repairing costumes or organising props and makeup and it felt like a working theatre group.

I found Krishnam Vande Jagadgurum immensely satisfying and never dull. Krish balances dialogue driven and action scenes, and draws out the themes to make a cohesive and substantial narrative. Rana excels as the modern hero with traditional inspirations and Nayantara was appealing as a heroine with a brain. This is one of my favourite films in 2012.  I’m crossing my fingers the DVD doesn’t take as long to release as Vedam did.

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11 thoughts on “Krishnam Vande Jagadgurum

  1. The movie was awesome. My brother didn’t like it. He is 6 years younger than me and perhaps belongs to an indifferent generation thats not swayed so much by emotion or empathy.

    Its all in the dialogues…
    So you have to wait for the subtitles.

    But some of them like the LB Sriram (Matti Raju) dialogue won’t translate well
    “Thindi lekapoyinaa parledu. Mattini adigithe pettuddi..matte lekapothe??”

    Literary translation ” No food. No problem. You can ask the soil and it will feed you. If there is no soil then what ?”

    Same case with the Kota Srinivasa Rao’s dialogue too.

    “Adi KALA … nidra lo kanedi … idi KALA …. nidra lepedi …”

    Now the L is pronounced differently in both words. The first KALA is pronounced with the normal ‘L’. But in the second one , there is a pronunciation native only to Southern India.

    The first KALA refers to Dream. And the second one to Art.
    And Nidra refers to sleep.

    So the literal translation is ” That is dream. You get them when you sleep. This is art. It awakens ..”

    Well , art does awaken.. :) It has awoken nations, cleansed dogma and raised the spirits of oppressed people.

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  2. Now the real life mines are in Obulapuram. http://www.hindu.com/2010/05/11/stories/2010051155520100.htm

    And the mining baron is Gali Janardhan Reddy. http://www.guardian.co.uk/world/2011/sep/05/indian-mining-magnates-arrested

    This guy digs up the iron ore and exports it to China (like in Australia).
    But the only difference is there are probably no native / tribal people near the mines of Australia.

    This guy has changed the border between two states by making lakes, forests and roads disappear overnight.

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    • Actually, Native Title has been a significant issue for Australia. All of Australia belonged to the aboriginal (indigenous) people so it has been a series of displacements and compromises ever since European settlement. Eddie Mabo won a landmark case establishing his people’s right to live on their ancestral lands. Vincent Lingiari lead a walk-off at a cattle station in protest at the conditions back in 1966. The strike lasted 9 years and contributed to the passing of a piece of legislation in the Northern Territory that gave indigenous people the freehold rights to the land and the ability to sell mining rights etc. There have been many similar legal challenges over the years. Gradually the system has come to acknowledge those rights but it took a very long time. It’s a controversial subject at times but at least now we have a legal system that is prepared to tackle the questions. And a police force that generally does enforce those laws.

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  3. This had the potential to be a great movie, which was ruined by the insertion of the so called “mass” elements (the love track, brahmi comedy, songs etc…). I believe Krish should have had trusted his audience’s ability to relate to the core of the subject rather than dilute it with the elements which he thought they expect from every movie. If the above mentioned stuff was removed, the screenplay would have been solid.

    As Sasank mentioned, the dialogues are the heart of this film; brilliantly written.

    Rana has to be appreciated for choosing a subject like this; not sure if Nayanatara suited her role.

    Apart from the theme music, I thought that the music could have been better which would have elevated the film to a different level.

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