Pandaga Chesko (2015)

Pandaga Chesko

This is the first film from ‘Energetic Star’ Ram that I’ve seen in the cinema, a fact that seemed surprising until I realised that Ram’s last film release was in 2013. I’m always wary with films billed as comedy, and Pandaga Chesko isn’t an exception to the rule that they should be approached with caution. However, surprisingly it isn’t Brahmi’s stale sleazy comedy that’s the biggest issue here, or the usual surfeit of comedy uncles with no real role in the story. Rather, the plot itself is tired, repetitive and well past it’s use by date. The story follows a young NRI’s return to India to attempt to reunite two families – sound familiar? Attarintiki Daredi, Govindudu Andarivadele and a whole host of other films have told this story before, and told it better. However Ram is personable and definitely energetic, although his performance and the best efforts of the support cast aren’t quite enough to save the film from being anything more than a one time watch for me.

Ram is Karthik, an NRI living in Portugal and a successful businessman running his own business. His success is enough to make him a candidate for marriage with Anushka (Sonal Chauhan) who is also a successful businesswoman although from her behaviour it seems barely conceivable that she could organise a two-ticket raffle let alone a business empire. But as her ability to play rugby to win a sports club presumably shows, she is a woman of hidden talents and a rather surprisingly slutty wardrobe for a business tycoon.

After Karthik and Anushka meet and decide that a merger would give them both the best chance to succeed in their respective businesses, Karthik learns of a complaint against his factory in India and heads off to fix the problem a month before his wedding. He’s also found out about a feud in his mother’s family, and despite not having shown any family feelings up until now, decides that while he is back in India he might as well sort out that little problem too.

However it’s not going to be as easy as Karthik thinks. For a start, no sooner does Karthik see Green Army founder and activist Divya (Rakul Preet Singh) than he falls in love with her. And the family feud proves to be tricky too, particularly when Karthik confuses the issue by including various other people pretending to be someone else. And muddying the waters further is Weekend Venkat Rao (Brahmi) sent to bring Karthik home for his wedding with Anushka but who spends his time indulging in cheap and nasty comedy instead.

Most of the comedy is in the dialogue so I didn’t find the film as funny as the rest of the audience, and since the physical humour mainly comes courtesy of Brahmi it’s generally crass and not particularly amusing. M S Narayana does have a small role but is generally not well used, while Abhimanyu Singh is reasonably funny in his role as a bumbling goonda in love with Divya. Divya and Karthik get some of the better comedy scenes too, although I don’t think all of it was actually supposed to be funny! They do make a likeable couple though and their scenes together are the most enjoyable part of the film.

The best performances come from the veterans in the cast including Jayaprakash, Sai Kumar, Raghu Babu and Pavitra Lokesh to name just a few of the large support crew. The feud between Karthik’s uncle and his erstwhile best friend is fairly standard fare but the actors give it their all and this part of the film works well. Rakul Preet Singh is good and has plenty of chemistry with Ram that serves their romance well, but Sonal Chauhan is a disaster in a role that doesn’t suit her and is badly written to boot. Ram doesn’t get much chance to show off his acting skills here either but he does well with what he is given – and if nothing else he does have good wardrobe choices and an energetic dance style. However even the choreography isn’t novel and although the songs from S Thaman are fine and generally well placed they don’t stand out as anything special.

Overall Pandaga Chesko does raise a few laughs but is let down by the disappointingly derivative and formulaic story. It’s frustrating since the film is well made with a great cast and generally good performances which do at least go some way towards making up for the tired plot. It’s not a terrible film, and it mainly works as a comedy, but it just needs a newer angle on a familiar tale and perhaps a few less comedy uncles. Worth watching for Ram and his energetic dance sequences, the romance scenes between Karthik and Divya and Arthur Wilson’s excellent cinematography.

Massu Engira Masilamani (Masss)

Masss

Venkat Prabhu is a man of many ideas – usually very good ideas – which have resulted in a number of successful films. However for his latest release Masss, he tries to cram as many ideas as possible into the first 20 minutes, and then continues to throw in yet more new ideas throughout the rest of the film. Now that’s not necessarily a bad thing, but not all of his ideas work and it’s even difficult to decide if they work or not because the film has already moved on to the next idea! As a result the confusion of the opening scenes feels like trying to cram a year’s work into 10 minutes before the start of an exam. Situations and characters flash by without a chance to work out who is who, what they are doing and how they fit into the story, and if I did have to answer questions on what was going on, I would fail miserably! However it does get better. Suriya is amazing, and his presence holds the film together even through the odd and even more oddly placed songs. The story starts to make sense and the pace slows down to manageable levels with enough comedy and action mixed in to make Masss well worth a watch and much better than the opening sequences would suggest.

Suriya plays Masilamani aka Mass, a con-man and thief who works with his best buddy Jet (Premgi) on a number of overly complicated heists that involve as much theatricality as they do actual thievery. But they make a mistake when they decide to rob a local don who takes exception to their activities. Mass and Jet only just manage to escape, but in doing so they have a serious car crash which has more implications than they first realise.

I had no idea about the story behind Masss and I think it works better when the events that occur are completely unexpected, so I will leave the details of the story there. Up to this point Suriya works his lovable rogue persona well and Premgi is relatively low-key as his best friend. After the first twist (one of many), Premgi takes more of a back seat in the proceedings which is an advantage to the storyline since he doesn’t quite have the acting chops required for such a major role, although his comedy does work well. Suriya takes centre stage and drives the story forwards with an excellent performance and plenty of charisma. There is a double role too, which is perhaps a little clichéd but still works within the format of the story. Plus double Suriya is always a benefit in my opinion (as long as they are not conjoined twins!).

Nayantara pops up as Malini, a love interest for Masss, but she has very little to do and doesn’t even manage a duet with the hero, so her role could have been skipped without too much trouble. She does look beautiful though, if perhaps a little unconvincing as a nurse, but has surprisingly little chemistry with Suriya. However I’m going to mark that down as not having any real opportunity to develop any sparkage due to the briefness of their time spent together rather than any real problem with Nayantara. Vidyullekha Raman makes an appearance as Malini’s friend and actually makes more of an impact than Nayantara, although sadly she too quickly drops out of the story. However they both fare better than Pranitha who appears totally mis-cast, or at least inappropriately dressed with terrible make-up, for her role as flash-back Suriya’s wife.

The film has a huge cast list and there are a large number of good actors who appear as assorted villains or who are part of a group who help Mass later in the film. Brahmi has a brief role as a corrupt doctor in Malini’s hospital, while Samuthirakani has probably the best realised villain role, although even he only appears occasionally. Parthiban manages a little more screen-time as a police officer on the trail of Mass and has some good one-liners while Karunas, Riyaz Khan and many others provide excellent back-up for Suriya. It seems a long time since I’ve seen Rajendran and it’s great to see him here in a small role as a member of the gang helping Mass even if again he only appears briefly.

The second half follows a more linear storyline, even with the flashback portion and the film settles down to an easier pace. What surprises me is that the film received a U certificate given that there is some fairly extreme violence and at times the film is quite frightening for a young audience, although the kids in Melbourne seem to be made of fairly tough stuff and seemed to take it all in their stride.

Masss is a little overlong and the at times it seems that Venkat Prabhu got a little too carried away with his special effect team. There are times when less really is better and there are a few moments here where more restraint would have had a greater effect. In addition, the songs don’t really fit, apart from one during the flash-back sequence and there are perhaps a few too many nods to other films in the screenplay giving the film a more derivative feel than I think it really deserves. However Suriya is excellent and the background score from Yuvan Shankar Raja makes up for any lack in the dance numbers. This is a film to watch for Suriya, the excellent support cast and for Venkat Prabhu’s occasional flashes of brilliance which occur just often enough to give Masss sufficient unexpected twists to entertain.

Bujjigadu

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Puri Jagannadh and Prabhas are a winning combination and while Bujjigaadu lacks the wardrobe excesses of EK Niranjan, it is a fun if ludicrous film.

Little Bujji and Chitti are neighbours in Vizag, inseparable until they have a fight. Bujji always does what Chitti says and she tells him to not speak to her for 12 years, after which she will marry him. He knows he can’t stay without wanting to talk to her so he runs away. Time passes, and Chitti’s family move away. Flash forward and we see our grown hero (Prabhas) beating up goons in Chennai. As evidence of his Tamilification, Bujji is a huge Rajinikanth fan, desperate to get to the FDFS of the Superstar’s latest film. And that leads handily to a corking tribute to the man himself.

Bujji returns to Vizag after 12 years, confident that Chitti will be there waiting. He is distracted and strays into a comedy subplot which results in some jail time. While in jail he is offered 1 crore if he breaks out and kills a man. After a moment of soul searching and confirmation the target was a bad guy, he accepts. After all, he needs money to marry Chitti. Meanwhile she has returned from studying overseas to look for Bujji, only to be sent away by his folks with a flea in her ear.

The pair cross paths, each unaware of the other’s identity. Bujji’s nom de crime is Rajinikanth and apart from knowing Chitti (Trisha) is in Hyderabad, he has few leads to go on. Eventually Bujji discovers that Chitti is the sister of Sivanna (Mohan Babu), the man he was paid to kill but has since befriended. Bujji has been living in her home all along. Sivanna asked Bujji to keep his true name a secret as he knew his little sis would leave home as soon as she found her childhood love. So Bujji agrees, albeit with some conditions.

Bujjigaadu-ogle

Hero and heroine under one roof with the erstwhile villain, more villains breathing down their necks, true love and secret identities…What could possibly go wrong?

Bujji and Chitti still imagine each other as they were in childhood, and their adult selves don’t really hit it off. I wondered how long they would last once they had to spend a lot more time together and the idea of a mutual destiny started to wear thin. Trisha plays Chitti as a little stuck-up, vain and intolerant, but still with some likeable characteristics. Good friend The Mahesh Fan once damned Trisha’s acting by saying she always looks a little more in love with herself than with her hero (Mahesh in that instance) and I tend to agree. Trisha and Prabhas do have an easy rapport but it never seems like a sizzling chemistry.  On the other hand, when Trisha looks at herself in a mirror, all bets are off.

Prabhas is immensely likeable, and despite his slightly dorky charm he can muster up a good death stare and punch dialogue when needed. Bujji is fairly easy going but he is a Telugu film hero so there were a few moments of brain melting ‘logic’ and chauvinism. His declaration that if Chitti said she loved him he would have to kill her because she could only ever love him and she didn’t know who him was so clearly would be guilty of cheating and thus deserve to die made me wish again that every film had a Tight Slap Administrator, and that it was me.

Mind you, Prabhas does get props for his Chihuahua wrangling skills.  And I love how much love Bujji has for Sivanna and his constant calling people Darling.

If we define love as mutual respect and affection with a dash of chemistry, then the strongest relationship in this story is between Bujji and Sivanna. Sivanna sits back to watch his goons take Bujji apart, but instead finds himself cradling his bloody opponent, shouting at him not to die because he loves him. Mohan Babu and Prabhas play off each other very well, and their characters seem more complex when they are together as they get down to the truth of things rather than just posturing.

Of the large supporting cast, MS Narayana is a standout as Bujji’s boozy, soft hearted dad. The scene where he recognised his runaway boy was sweet, and I really do like him in roles where he gets to act and not just be the butt of jokes. Sanjana plays Chitti’s sister Kangana and she is pretty and not completely terrible so I suppose she met the brief.

The villains are Machi Reddy (Kota Srinivasa Rao) and his two lions – Ajay and Supreet. House favourite Subbaraju is excellent as hapless third son Venkat , who seems a bit too sensible and not really hard-core enough for his dad. Sunil and Ali provide more than enough pointless comedy. Brahmaji is Sivanna’s hot headed sidekick. And Mumaith Khan does her thing as a welder/item girl.

I liked that she wore professionally appropriate gear for both her day jobs.

The fight scenes are campy and funny, with lots of flexing and posing by Prabhas. Every single breakable thing on set is utilised, and the sound effects team are given full rein on the biffo and squishy stabby noises. The finale took place on an abandoned film set so there were lots of fragile brick walls and stained glass windows, enough for everyone to have a go. Almost all the boys get to fly about either through wires or effects. I kind of love the moment when Bujji sets his foot on fire, all the better to kick the goons with. That’s commitment. I liked that Bujji could pour out his feelings in Tamil to Telugu people and in Telugu to Tamil friends and thus get to wallow in his woe while keeping his secrets. There were some zingy one liners and some mystifying subtitles, and that all adds to the fun.

The costume department made some interesting choices, and I applaud their application to the task of dressing the overseas backing dancers with only the materials commonly found in hotel rooms and budget clothing chains. And Prabhas takes denim in some unexpected directions. The songs are mostly fun (even if just for the outfits) and help you take a breather in between fight scenes.

Bujjigaadu has a hero who knows exactly how to hit all the right spots in a mass potboiler, and a director with a big budget and a sense of fun.  4 stars!

Nandalala

Nandalala

I’m a big fan of Mysskin and have been slowing working my way through his earlier films whenever I can track them down on DVD. However I put Nandalala at the end of the queue, since it’s a change of direction from his more usual crime thrillers and didn’t sound like my cup of tea. But I should have known better. Nandalala is still very much a Mysskin film with a focus on the dark side of human nature, although this time there are some lighter moments scattered among the social commentary of the film. Even better, Mysskin himself makes an appearance in this film as one of the lead characters and does almost as good a job in front of the camera as he does on the other side.

Essentially Nandalala is a road-trip film with a young boy and a mental patient who has escaped from an asylum both searching for their mother, although their reasons for doing so are very different. Aside from their own journeys, both physical and metaphorical, along the way they meet up with an interesting mix of characters that serve to illustrate the joys and the difficulties of life in rural India. Although it does move at a slow pace, perhaps to go along with the walking pace of the journey, Nandalala is a beautiful film with a heartfelt screenplay and is very well worth a watch.

The story opens with Akhilesh, commonly known as Agi (Ashwath Ram), waiting outside his school. There are 15 seconds of silence while other pupils and their parents’ stream past his downcast head, which is an incredibly effective way to describe his isolation and give a general idea of his circumstances. When Agi does walk home, it’s to a greedy servant and his blind grandmother, both of whom need him for their own reasons. While it’s obvious he doesn’t live in abject poverty, there is little affection and no joy in Agi’s life. His most precious possession is a photograph of himself with his mother as a baby and he takes advantage of a school trip to set off on a journey to find her. Agi seems well prepared with his mother’s address, her photograph and a relatively full wallet, but he doesn’t have any real idea about how to find her. Just to make matters worse he is robbed in the local town and left without the means to buy anything let alone a bus ticket to Annaivayal. His journey seems to be over before it has started but he chances to meet up with Bhaskar Mani (Mysskin), a mentally disabled man who has escaped from an asylum and is trying to find his own mother. Bhaskar is searching for answers, wanting to know why his mother abandoned him to the mercies of the hospital staff and has never visited or contacted him. Despite their many differences, they make a good team as they travel together to find their respective mothers.

In many ways Agi is a typical young boy from a small town. He’s had a sheltered existence and his innocence and loving nature colour his approach to everyone he meets on the road. He is accepting of Bhaskar and his mannerisms, but still manages to become exasperated when Bhaskar does something particularly unhelpful, although this doesn’t change the easy partnership the two share. Ashwath Ram is excellent and plays his part perfectly throughout. His eagerness and excitement as he runs around the village searching for his mother is infectious, while his emotional ups and downs are natural and feel very honest. Agi’s guileless approach to life and his innate practicality are perhaps a little unlikely given his upbringing, but they do mirror a similar innocence and matter-of-fact abruptness in his companion.

Mysskin is surprisingly good as Bhaskar, although he does have a tendency to overact and occasionally over-emphasise some of Bhaskar’s obsessive mannerisms. Initially when in the asylum he continually runs his hand along the wall or the bars beside him in a behaviour pattern that fits well with his character’s mental disabilities, but some of his later actions seem more contrived and don’t fit as well with his mental health issues. However, he does an excellent job of portraying a child-like innocence that has an effect on everyone he meets, and if his sudden rationality at some points seems rather opportune, his moments of insanity never become too over-the-top.

The film is at it’s best when it relies on the situations the two companions find themselves in to drive the narrative, ably assisted by Ilayaraaja’s absolutely beautiful background music. There is little dialogue to draw attention away from the body language, which is much more expressive than any long speeches could ever be, and the songs are equally effective in adding depth and emotion to the film. This is a beautifully sad song that contrasts with the happy attitude of Agi and Bhaskar’s mood swings and general instability. Just perfect.

Snigdha Akolkar appears in the second half as a working prostitute whose presence adds rationality to the story. Initially she is understandably annoyed with Bhaskar and Agi when they drive away her paying customer but later events lead to Anjali accompanying the two on their quest. Her presence allows a glimpse of a softer side to Bhaskar, and gives Agi the opportunity to be just a little boy searching for his mother. It’s a powerful role despite the short screen time and Snigdha is excellent, particularly when she allows glimpses of her characters emotional fragility to escape her seemingly strong and confident presence. Nasser and Rohini also appear in small but very effective roles, and the rest of the supporting cast are all uniformly excellent and perfectly understated.

As with most Mysskin films, there are plenty of odd angles and shots of feet. This is very effective during Agi’s desperate search for his mother but also works to draw attention to the journey itself and the miles walked by Agi and Bhaskar. Mahesh Muthuswami adds his expert touch to make the countryside look sumptuous, whether it’s the plants along the roadside, the luscious green fields or the buildings and villages along the route. It is a beautiful part of the countryside, although Mysskin also points out the shady characters and quick violence that lurks amongst the idyllic scenery.

Nandalala is much better than I expected from the brief description on the DVD. It’s difficult to describe just how emotive the film is without revealing too much of the plot, but as it’s a Tamil film it’s probably obvious that there is no happy ending – or at least not completely. However the film is all about the journey and the relationship between Bhaskar and Agi, and from that point of view it is a resounding success. Mysskin excels in adding small details, such as Bhaskar’s stolen shoes that he wears back to front, that add depth and interest to his story and characters. I love this film just as much as his thrillers and am impressed that Bhaskar can turn his hand to such a different style of story so competently. It’s also commendable that he has not only written and directed the film but also acted in a major role without stealing the limelight or making it all about ‘Bhaskar’s story’. It’s probably not for everyone; there is no ‘action’, no comedy track and no big dance number, but the simple emotions and finely nuanced performances make this one for fans of more character driven cinema. 4½ stars.

Piku (2015)

Piku-poster-2

Shoojit Sircar’s Piku could be summarised as two hours of Bhaskor (Amitabh Bachchan) and his shit, literal and figurative. He is a man obsessed with his ever-present constipation, and that and his intelllectual superiority are his favourite topics of conversation. Luckily there is more than just a constipated old man to this story and for me, Piku (Deepika Padukone) is the real heart of the film.

Bhaskor is well intentioned but domineering and contradictory. I found him slightly monstrous as his self-absorption is limitless, and for all his manners he is often unkind. He won’t let his daughter marry saying that is a ‘Low IQ’ thing to do and he wants more for her than to be a man’s wife, but he also insists she do as he says. On the one hand he talks about how much he loved his wife, then criticises her for being so unhappy (because he made her unhappy by marrying her). He introduces her to prospective suitors by telling them she isn’t a virgin, and asking if they have a problem with that. They mightn’t care, but for me his lack of empathy for Piku is very off putting. The family is loud and shouty, all of them totally obsessed with their bowels or Bhaskor’s motions, but there is no lack of love. Arguments get heated then suddenly devolve into giggles or reminiscences, a nicely realistic note.

Piku-Bhaskor

Amitabh effortlessly dominates the scenes he is in, even when he is sleeping. He does a little OVER!ACT!ING!, particularly towards the beginning of the film when Bhaskor is being set up as irascible and a bit quixotic. But when he hits his stride, he is delightful and charismatic. My favourite scene was when Bhaskor comes home from a party a little drunk. He puts on old records and starts dancing. At first he is playing to his judgemental daughter, twisting and mugging to get a laugh and stop her from telling him off. But then his moves change and he seems to have journeyed back to an earlier happier time, not even looking at Piku, as he gently dances to a much loved song. Her expressions are perfect as she moves from anger to concern to grudging amusement before sashaying back to her room, half dancing along. For me, that perfectly expressed the love and tension when the child becomes the caretaker and has to deal with their parents’ mortality.

At first I thought this was going down the path of a modern woman has to be an aggressive, unpleasant, and possibly slutty woman. But Piku is overruled by her father and his innards, her clients often ignore her design advice, and she has no one who will really listen so I can’t blame her for getting irritable. Piku is aware of how much her father’s needs and demands are shaping her days, but she is doing what she thinks is right so doesn’t feel bitter. Her love life is limited to the occasional hookup with her business partner Syed (Jisshu Sengupta) and she doesn’t invest time in notions of romance. At first glance Piku is abrasive, but Deepika is lovely, warm, and…real as she adds and removes layers to her character. The rapport between Piku and Rana develops slowly, borne by the conversations and observations of people stuck in a car with a cranky old man. He sees past her tough front, and she sees his apparent laziness is more of a weary pragmatism which she can relate to.

Irrfan (apparently he needs no surname these days) can be hit (Life in a Metro) or miss (do we all remember Krazzy 4?). This performance is a hit for me, and Rana suits his slightly offbeat delivery and everyman style. He and the Big B do indulge in one scene that is more like an improv no one knows how to end, but generally he concentrates on being Rana rather than on skills demonstrations. I felt Rana was a kind of proxy for the viewer as at first he is overwhelmed by Piku’s bolshy character, all the cacophony, and the incessant examination of digestive functions, but gradually he sees behind the bluster. He tries to offer advice and be helpful at home and at work, but his platitudes are rejected. It’s only when he gets real that he is heard. The nascent relationship between Piku and Rana is based on mutual understanding and respect and there is no insta-love personality transplant or makeover required.

Moushimi Chatterjee is a whirlwind as Piku’s Aunty, and brings some fun and a much needed opposing voice to Bhaskor’s benevolent dictatorship. Budhan (Balendra Singh) is a hapless servant, attending to all Bhaskor’s bathroom related chores. While I did laugh at some of his scenes, I could have lived without all the poo jokes.

Whistling in a soundtrack is generally an indicator of whimsy, which is not my most loved style. But apart from a propensity for emo guitar tweedling, Anupam Roy’s soundtrack suits the drama and the pared back style very well, and I enjoyed it and the songs used in the background.

Piku has a flavour of the middle cinema of the 70s; not realism but realistic. The characters felt like they had roots. While the cinematography was beautiful, it wasn’t distracting, more often giving the viewer a fly on the wall glimpse of what was going on. There were a few indulgently arty shots in Kolkata, but who could complain about that? Some of the dialogue feels improvised and Juhi Chaturvedi’s screenplay gives a distinct voice for each character, whether through their blend of languages or the formality of their speech.

Not much really happens in Piku, but all the characters go on a bit of a journey beyond the physical road trip. I laughed, the lady sitting next to me cried and we all did a bit of ‘you go girl’ affirmative nodding. See this for Deepika Padukone giving a fine performance as a modern, complex woman and for some late career Big B magic.

(Note: Maybe don’t see this if even mild toilet humour grosses you out.)