Govindudu Andarivadele

Govindudu Andarivadele

Soaring melodrama, fantastically colourful sets and Prakash Raj are the stand-outs from GAV. Add in Charan, who has definitely improved on his emoting, and you have the bones of Krishna Vamshi’s family drama that mostly delivers what it promises. There are plenty of emotional scenes as Abhiram (Charan) attempts to reunite his family in England with the rest of his estranged relations in India, and of course there’s some local trouble and a romance thrown in for good measure. While most of the film seemed to live up to Krishna Vamshi’s preoccupation with family values, there are a few scenes here that seem to be a hold-over from a less pc era, and stand out as glaringly sexist and just plain wrong. However the rest of the film is entertaining enough despite a storyline so overused that the lack of subtitles was really never an issue!

The story opens with a déjà vu from K3G as Abhiram demonstrates just how well he can play rugby when the opposing team fail to follow the rules of the game and actually attempt to tackle. Real rugby players end up covered in mud and crushed under a few tons of Welsh full-back in my experience, but apparently not in Vamshi’s world. Abhiram lives in a very nice pad in London with his father Chandrasekhar (Rehman) and his little sister whose name I didn’t catch. Unfortunately Chandrasekhar misses out on an appointment to be Dean of Medicine at a London University and interprets this as karma due to an old rift from his own father.  No academic politics in Vamshi’s world either then, I presume!

Overnight Abhiram decides that he will be the one to make all right for his father, and heads off to India to do what he can to bring the families back together. Sadly though, he doesn’t take time to remove his rather odd pony-tail which I can only assume must have been an attempt to look ultra-hip and cool – London-ishtyle. Not my favourite look for Charan, but it did grow on me as the movie went on.

GAV - Charan

Things definitely look up once Abhiram makes it to India, does all the usual touristy things, and then heads off to his grandfather’s village. Following the standard family reconciliation template, Abhiram makes contact with the rest of his family anonymously by pretending to be a visiting agricultural student who wants to learn from family patriarch Balaraju (Prakash Raj). Balaraju runs his family and the village with a benevolent but very traditional hand while stopping his brother (Kota Srinivasa Rao) from clearing and developing the area. Living in the wonderfully pink and majorly over-decorated mansion is also Chandrasekhar’s wastrel brother Bangari (Srikanth): a man with an unfortunate propensity for mesh singlets and garish shirts. Oh, and he drinks, gambles and tries to kidnap and rape his potential bride, Chitra (Kamalinee Mukherjee). This is one of those scenes that really should never have made it in to a film in this day and age, and it does feel completely anachronistic with the rest of the story. Equally disturbing is Abhiram’s use of some photographs he has taken of his cousin Satya (Kajal Agarwal) dancing in Western clothes as a way to blackmail her. This is straight out bullying and sexual abuse, and I find it hard to believe this got past the censors in an otherwise ‘family-friendly’ film. Thankfully Satya does manage to effectively deal with Abhiram’s harassment, but it makes their subsequent romance initially less believable and Abhiram appear as a bit of a prat.

The rest of the film is much better, and that’s mainly due to excellent performances from Prakash Raj and Charan. Prakash Raj is perfect as Balaraju and he knows exactly how to play the strict but compassionate head of a large family. He never puts a foot wrong and wrings every possible drop of emotion out of his time on screen. He even manages to make stick fighting and motorbike riding emotional events, as he unknowingly bonds with his grandson. Jayasudha is just as good as Abhiram’s grandmother, and again she manages to take her overly emotional scenes and tame them down to something more realistic and believable.

Charan gets a chance to show that he can play more than just an action hero and he definitely rises to the challenge. His Abhiram has more shading than other characters I’ve seen Charan play, and he conveys plenty of emotion and feeling in his speeches, even though I couldn’t understand a word! Despite the initially rocky start, there is plenty of chemistry and some major sparkage in the romance between Abhiram and Satya. Charan is one of the few actors that interacts well with Kajal in this respect and their romance really does light up the screen. Charan does manage to stick close to his real love though, as seen in this song mainly set in and around Petra. I wonder if it’s written into every contract that he must get at least one scene with horses? Kajal gets rather short-changed in the choreography here, although Charan doesn’t actually get to dance much either and sadly most of the songs have more emoting than dancing.

The rest of the cast are all capable and fit well into their roles. Rao Ramesh, Posani Krishna Murali and Adarsh Balakrishna are part of Kota Srinivasa Rao’s opposing family but never feel terribly menacing. Adarsh’s character is mainly just very shouty and aggressive, and the various fight scenes, which appear to have been structured around rugby tactics, aren’t up to Peter Hein’s usual high standard. The film looks gorgeous though. The pink palace is amazing – Satya has a stunning peacock painting on her wall, and most of the other rooms are similarly adorned with fantastical artwork and gorgeous furniture. I would live there!

GAV - the pink palace

The emotional quotient does head into overload at times and the ending is particularly excessive, but that doesn’t really seem to matter since the whole point of the story is overblown sentiment. As a straightforward family drama GAV works well enough despite the cliché-ridden storyline and the strong performances help push it over the line. Well worth watching for Prakash Raj and Charan, particularly when you can marvel at the wonders of the pink palace as a bonus.

Memories (2013)

Memories

Before the release of his blockbuster Drishyam in 2013, director Jeethu Joseph had a hit with this thriller/crime drama starring Prithviraj as a cop on the trail of a serial killer. Despite the tag of crime thriller, Memories is more than just a simple tale of a murder investigation with the requisite suspects, dead ends and clues that gradually lead to the killer. Although all of that is still there, the film focuses more on the character of the lead investigating officer and his day to day struggles to deal with his difficult past. It’s a good attempt to deliver a more Hollywood-style drama but in the final scenes the film is let down by a rather unbelievable protagonist and a few plot holes that develop as a result. It’s still well worth a watch though for a number of excellent performances, most notably from Prithviraj, and an effective build-up of suspense in the first half of the film.

Sam Alex (Prithviraj) was a successful police officer before the fall-out from a raid on a criminal gang impacted his own family life. As a result, Sam continually relives the moments where he lost his wife Teena (Meghana Raj) and young daughter to an escaped member of the gang, and through flashbacks, the film gradually builds a picture of his happy past.  There is only one song in the film which is used to show a series of montages of Sam’s previously happy life. Yes, it’s a little over the top and maudlin, but it is a lovely song and since it’s the only part of the film where Sam gets to smile, it’s worth a look.

To deal with his memories, Sam drowns his sorrows in the demon drink, and although he hasn’t been thrown off the force, he is physically and mentally unable to continue with his police work. Luckily for Sam, he lives with his mother Marykutty (Vanitha Krishnachandran) in a rather swish house and seems able to spend all day drinking at the local watering hole without any obvious financial problems. In addition, his police chief, IG Menon (Vigayaraghavan) looks on him as a kind of ‘godson’ and is prepared to offer him every possible opportunity to get his life back on track. However, Sam prefers to wallow in his own misery, and it takes a direct plea from his mother (ah – the power of an Indian ma!) to finally get him involved in the murder investigation.

The set-up for the mystery is solidly executed and, up until near the end when the killer is revealed, each step in the investigation is well plotted with appropriately puzzling twists.  Initially a man disappears from a car park after a shopping expedition with his wife, and his tortured body is found tied to a tree a few days later.  A second grisly discovery sees SP Vinod Krishna (Suresh Krishna) trying to find a serial killer in all the wrong places and it’s at that point IG Menon decides that Sam could be just what the investigation needs. Certainly he couldn’t manage to do a worse job than the hapless SP Vinod! Needless to say SP Vinod is not best pleased to have his inquiry lumbered with a has-been who spends all day drinking. Literally.

To add to their woes, a local journalist is giving the police a hard time about the murders, and the body count keeps getting higher while the list of possible suspects gets smaller. The build-up of suspense keeps the momentum of the story going and for most of the film the investigation is relatively realistic – at least as far as any fictionalised crime drama ever manages to be.   The problem comes later in the film where the final motivation of the killer doesn’t reach the same level of plausibility, and the climax ends up a little too predictable and overly melodramatic. However, unlike similar Hollywood stories, there is admirably less focus on the blood and gore, and more attention paid to the psychology of the killer even if he’s still just a little too superficial in the end.

Prithviraj is excellent in the role of the alcoholic cop who just wants to be left alone with his memories. I really like the characterisation and the way that Sam only takes part in the police investigation on his own terms. Going back to the job he blamed for the death of his family is just one of the many issues dealt with, and the ripple effect of Sam’s alcoholism and the impact on his brother and mother is a constant undercurrent to his work. I also like that getting back into a police investigation isn’t a quick fix for Sam’s issues and he keeps drinking throughout the investigation, while any rehabilitation from alcoholism is shown as a long and difficult struggle. The focus on his flaws, the difficulties he has in dealing with the families of the murder victims and his co-workers are all cleverly used to draw his character in more detail.  The role is absolutely central to the film and Prithviraj carries it off with ease while ensuring plenty of empathy for his character, even though he’s really not particularly likeable and remains relatively self-centred throughout.

The support cast are all quietly capable in their roles.  Rahul Madhav is effective as Sam’s semi-estranged brother, and Vijayaraghavan, Suresh Krishna and the rest of the police officers provide strong support as the investigation unfolds. Mia George appears as an investigative journalist who initially gives Sam a hard time about his drinking habits and berates SP Vinod for his ineffectiveness, but she effectively disappears from the story once she becomes more supportive. I’m not convinced that her role was strictly necessary and the plot would have been sharper without her inclusion.

A few things made me smile, Oddly the chests of the murder victims are pixilated during the autopsy scenes, despite the fact that this contains an important clue. It is laid out in detail later, but even a brief view would have helped to understand why Sam was so fixated on a number of pieces of paper and photographs. I’m really not sure if this censorship was due to modesty or the gore factor, but it was bizarre.  The subtitles are also rather interesting, including the idea that the killer tried to procrastinate the murder, although I think what they really meant to say was delay the death. Procrastination sounds much less terminal! And there is good use of a map – always a handy tool for murder investigations and I do appreciate good use of a prop.

While there is nothing ground-breaking about Memories, it is a good story with all the requisite elements for a crime thriller. The murders and their subsequent investigation do tend towards formulaic but that’s not necessarily a bad thing, and everything is well pieced together to make a mostly convincing story. The psychology behind the main character is more interesting and it is this detail that moves the film from average to noteworthy, particularly when that main character is played by Prithviraj. Solidly entertaining and one of the better films from last year, Memories is definitely well worth a watch and a good addition to the crime genre. 3½ stars

 

Madras (2014)

Madras

Pa Ranjith’s second film is a gritty and realistic drama that starts well but gets a little lost in the second half when the focus of the story moves more towards a fairly awful romance. However, thankfully the character interactions and underlying political story have enough momentum to bring the story back into focus well before the end. Although Karthi is good in his role as a short-tempered, football loving bloke from a housing project, it’s Kalaiarasan Harikrishnan as his best friend who impresses the most from the generally excellent cast. The notable exception is Catherine Tresa who seems painfully miscast as Karthi’s love interest, and she appears awkward and uncomfortable for most of the film. Madras does drag a little in the second half as a result, but overall the portrayal of life in a housing project in Northern Chennai is convincing, while the political shenanigans add enough complexity and interest to make the film well worth a watch.

MadrasMadras

The story follows the rivalry and competition between two local political parties in Royapuram, a district in northern Chennai. While the politicians have managed to split most of the area amicably between the two factions, there is one wall in the middle of the district which remains in bitter contention. After some initial wrangling, for most of the film the wall features a painting of the deceased leader of one party (Jayabalan), but while his son Kannan (Nandakumar) and followers are determined to keep this image on the wall, Maari (Vinod) and his party want to claim the wall for their own propaganda. Caught in the middle are the people who actually live in the shadow of the wall and for whom the two political leaders talk the talk but don’t actually deliver very much in the way of benefits. This is simply highlighted in the way the women meet every morning to get water from a pump, and in the various fractious meetings between the rival young men of the area and party leader Maari.

The gang in Madras

Anbu (Kalaiarasan Harikrishnan) is the up and coming political activist in Maari’s party, and one of the driving forces behind the campaign to retake the wall. His relationship with his wife Mary (Ritwika) is one of the best I’ve seen onscreen in Tamil cinema and their stolen moments of intimacy have just the right amount of tenderness and humour. Both Kalaiarasan and Ritwika are brilliant in their roles here and I just wish the film had focused more on them and their relationship. Excellent performances from both made it very easy to completely believe in their characters, along with some very good writing and character development. The couple lives in a small apartment with their young son, and despite Anbu’s political drive and aggression, he is still a man who obviously loves his family and wants to do his best for both them and his local area. His best friend is Kaali (Karthi), an IT worker with a very short fuse to his temper, which spills over into violence with little provocation. While Anbu tries to negotiate his way to solutions, Kaali frequently disrupts his careful dialogues, and seems to think of little beyond the moment.

Madras

Kaali is however a staunch and stalwart friend, so it seems natural that Anbu doesn’t give up on their friendship but rather tries to mitigate Kaali’s outspokenness and intervene when he flashes into violence. The relationship between the two is complex and Ranjith is to be commended on writing such a convincing portrayal of two angry young men with such different agendas but who still have plenty of common ground.

Kaali is also looking out for a wife and believes he has found his ideal in Kalaiarasi (Catherine Tresa), the arrogant and opinionated daughter of yet another local politician. I found Catherine Tresa annoying and wooden in Iddarammayilatho and she does nothing here to change my opinion. The character of Kalaiarasi is interesting and has potential, but I’m not convinced by Tresa’s portrayal here at all.  She appears to be obviously ‘acting’ all the time and never manages to develop any rapport with her co-actors.  Perhaps her inclusion was Ranjith’s attempt to make his film more commercially appealing, but her performance definitely doesn’t work for me, and neither does the romance.

Madras

The rest of the story does however work well and despite the fairly obvious plot the first-rate characterisations are enough to keep it believable and interesting.  The various other support actors are effective with Rama as Kaali’s mother having some of the funniest dialogue, while Hari as local eccentric Johnny is cleverly used to further the storyline.  Anbu and Kaali’s friends are also convincing in their roles while the various enforcers used by the two political parties are much more realistic (and therefore believable) than the rent-a-thug gangsters usually used in such roles.

The cinematography by G. Murali is also excellent, with the chase sequences through the narrow streets a major highlight, but everything is perfectly framed to ensure the wall looms over everything and everyone in the area. Although there are a few songs they are used sparingly without long disruptive dance sequences, while the film does include some excellent dancing with the addition of a local area dance troupe who cycle through some of the important scenes and indulge in spontaneous dancing whenever possible. I approve!

Madras Karthik and CAtherine

The escalation of such a small issue as the slogan on a wall into an all-encompassing problem, along with the back-stabbing, petty rivalries and jealousies is well handled and makes Madras a more complex tale than it first seems. It’s the very ordinariness of the characters that ensures the film feels very realistic, while keeping obvious heroics out of the equation gives the film greater impact. Essentially Pa Ranjith has taken an old story and dressed it up into something new, with clever characterisations and good use of locations ending up with a film that’s a cut above the usual political thriller. Madras is definitely well worth a watch for impressive performances and a relatively realistic look at one of my favourite cities.

Pizza

Pizza-Poster

Billed as a supernatural suspense thriller, Pizza is an assured debut by director Karthik Subbaraj. At a relatively taut 2 hours or so, it certainly manages to pack in the suspense and a few twists and turns. I’m going to try and avoid spoilers and will not divulge much of the plot.

Anu is an aspiring novelist and Michael works in a pizza joint. They live in an outbuilding, relying on bribes to keep the security guards turning a blind eye.  She falls pregnant, and eventually he overcomes his fear of the responsibility enough to propose. While Anu wants a proper wedding, he says they will do that when they can afford it but for now, they should just marry for their own sakes. They dress up in their nice clothes and exchange vows in their yard. So far, so good. On a late night delivery, Michael is waiting for change when the lights go out and he hears noises upstairs in the house. He goes up and sees his customer bleeding from multiple wounds, but no sign of her attacker. Michael runs, trying frantically to find a way out of the house but there are bars on all the windows and the door has been deadlocked. Oh, and the house is full of dolls. And then he hears music from upstairs.

And to find out more about the plot you’ll need to watch the movie. If you haven’t seen the film and don’t want to know what happens, may I suggest you avoid reading the painfully detailed plot synopsis on Wiki. I saw it recently when I was checking cast details and wow – way to ruin a suspense film, Wiki-dude.

Pizza-filmi heritage

Subbaraj isn’t shy about using filmi cliché to misdirect or tease the audience, and I’d guess he has watched his fair share of horror and paranormal movies. A lot of the film is set during the night time and between the deep shadows and the rapid changes of point of view and edits, there is often a sense of unease and of being watched or followed. In contrast, the domestic scenes between Michael and Anu are airy and colourful, with a gentle and usually flattering light. I found one extended sequence quite poorly constructed, as though the director was making things up as they went. That became an extremely clever approach once I watched to the point that more was revealed, but it is a risky move as you may lose people when you’re deliberately being obvious before they know why. And there are a few things that really did not work for me. Michael’s boss asks him to deliver a file to his home ahead of an audit. While there, Michael sees a girl who seems to be possessed. She has the clichéd demonic multi-tonal voice effect with the screechy violins of evil and wheezes so heavily I really wanted to pass her an asthma inhaler. It was oddly heavy handed and overdone when some other hints and clues were done deftly.

Michel and Anu have that rare thing in Indian cinema – a sexual relationship out of wedlock where no one really judges. When Anu falls pregnant Michael’s first reaction is to think of how difficult it will be to raise a child and he encourages her to have an abortion. But when he tells his friends they all say pretty much the same things – there is never a good time to have kids, and he loves Anu, so why is he hesitating to marry her. Anu’s reaction was to leave a note saying she would no longer do his laundry (as after all, she wasn’t his wife) and coolly set herself up in the yard with a book and some snacks while he ran around the house panicking in case she had left him.

Vijay Sethupathi is generally good as Michael but I felt he overacted or his timing was off in some of the spooky scenes. I do appreciate the challenge of acting with things that may not be there until post production, so it didn’t worry me unduly. But in terms of acting I thought the scenes between Michael and his colleagues or Anu were more engaging. Remya Nambeesan gives Anu a down to earth style that includes a pragmatic approach to relationships and planning for her future. They have the easy rapport of an established couple but can still spike into anxiety and insecurity when the status quo is threatened.

While I liked a lot about their relationship and thought they suited each other well, I didn’t particularly like either character. But I don’t think any of the characters in Pizza are very likeable and it doesn’t matter. They’re interesting, they all have strong connections to other people in the story, and the world of Pizza does feel real. The supporting cast is relatively small and all of the characters play a significant role in Michael’s story. His colleagues Raghavan (Karunakaran) and Srinath (Jayakumar) are also Michael’s only apparent friends, and the ones he confides in about everything going on in his life. Bobby Simha and Pooja Ramachandran are strangers to Michael but have a huge impact on the story.

This is more of an indie style film but there is a vague attempt at incorporating songs. I find the soundtrack bland and dominated by ballads. Ballads are bad enough, but in films they usually signal a boring montage (rather than the more acceptable energetic dancing) and that is what is delivered here.

I was mildly diverted by Anu and Michael cavorting in the rain under a huge plastic sheet but more because I wondered why they didn’t just stay in their perfectly dry house and pash without the risk of suffocation. But, whatever.

Pizza is a film that is better on looking back than it was on first view, but it doesn’t stand up well to repeated watching due to the reliance on suspense. See it if you are interested in an urban Indian supernatural story or just like pacey thrillers with enough to keep you guessing. The cast definitely add to the charm of the everyday scenes and Karthik Subbaraj knows how to play his audience. 4 stars!

Aagadu (2014)

Aagadu

After the major disappointment of missing 1-Nenokkadine, it felt as if it had been a very long time since I’d been able to indulge in the wonders of Mahesh on the big screen. As an added bonus Aagadu was being shown in my local cinema, the wonderful single-screened art deco Astor, which has the luxury of a dress circle and velveteen-couches for lounging while waiting to get into the auditorium. Plus the bonus of subtitles!

Going to the Astor is always an ‘experience’ and even more so for Mahesh.  There were massive posters with accompanying garlands, samosas for sale in the foyer, and even that rarest of things – allocated seating! Regular visitors to Telugu film nights in Melbourne will understand what revelation this was – no pushing and shoving to get in and try to find a seat that hasn’t been ‘saved’ by the first twenty people through the doors? Not this time! First night, first show and there was an orderly ticket collection queue, a leisurely stroll to your seat (with ushers!) and plenty of time to soak up the atmosphere with the sell-out crowd.

Aagadu

Aagadu sees Mahesh reunited with Dookudu director Srinu Vaitla, although the partnership doesn’t deliver such an entertaining film this time round.  Along with a number of familiar faces in similar roles, the usual mass themes pop up time and time again, so the plot feels tired even before it gets past the first half hour.  Still, it starts off well enough. Young Shankar is rescued from the streets by Police Inspector Raja Ram (Rajendra Prasad) who adopts him into his household based on Shankar’s non-tolerance approach to crime. Naturally this family relationship doesn’t last long, and Shankar is cast off by Raja Ram in suitably dramatic fashion after taking the blame for something he didn’t do.

Aagadu

Despite these early troubles Shankar follows in his adopted father’s footsteps and grows up to be ‘Encounter Shankar’; a man so feared that the mere mention of his name is enough to turn big, bad gangsters into quivering cowards.  As expected once he appears on-screen, Mahesh Babu throws villainous thugs around with gay abandon while indulging in snappy dialogues and keeping his uniform creases sharp. Mahesh is in his element here and it shows. He looks even more baby-faced than ever as he single-handedly beats various thugs into submission and revels in his indestructible super-cop persona.  Pretty similar to the way he did in Dookudu really.  The opposing gangsters have learnt nothing and still tend to attack one at a time (they can’t ever watch any movies or they would know better), and there are plenty of barrels, containers, and various other items for them to crash into. The outcome is always a forgone conclusion but it is the getting there that counts, and the action scenes are excellent.

Aagadu

Encounter Shankar is sent to Bokkapatnam, where crime lord Damodar (Sonu Sood) is terrorising the locals and keeping the police firmly under his own control. Sonu Sood seems a little off his game here and is never quite menacing enough to be the big bad movie villain needed to offset Mahesh’s heroic cop. An early attempt to give him a ‘quirk’ falls flat and apart from one or two moments of sneering he’s a bland and relatively innocuous character.  Srinu Vaitla seems determined to include as much humour as possible, but his inclusion of the gangsters into the comedy motif works against any possible build-up of menace and just isn’t particularly funny.  Even Damodar’s gangster lieutenants are roped in with Raghu Babu, Posani Krishna Murali and Prabhas Seenu dropping their initial villainous personae for dumb comedy routines that do nothing to help the story.

AagaduAagadu

There is more comedy in the form of M.S. Narayana who is reasonably amusing as a data broker, although the best comedy moments go to Mahesh as he befuddles the villains with reprises of his own movies.  These gangsters really don’t seem to get out to the cinema much!  The usual suspects turn up in the support cast including Nasser who seems wasted in a role as a mildly corrupt cop, while CinemaChaat favourite Ajay fares a little better in a more serious than usual role and Vennela Kishore has a reasonable role as Encounter Shankar’s main assistant.  Brahmi turns up late in the film and it says a lot that he is sorely needed to bring some relief into an otherwise dull and predictable second half.  He plays a broker who ends up as the fall guy for the police operation, but it’s really just the usual slapstick with the addition of a reasonably funny dance mix from recent films, although even that seems a copy of a similar scene from Dookudu.

Aagadu

Tamanna plays the love interest and starts off as a relatively feisty character that seems to have potential. Unfortunately it doesn’t last, and after she succumbs to Shankar’s trite dialogue she is rewarded by relegation to appearing only in the songs.  There is absolutely zero chemistry between Tamanna and Mahesh but she does get to wear some pretty skirts and twirl around mountains and deserts while Mahesh does some enigmatic walking, so it all works out OK in the end.  I liked the soundtrack and the catchy songs are all well-choreographed and pictured, often with some very enthusiastic backing dancers.  Shruti Haasan makes an appearance in a rather athletic item number which got just as many cheers as Mahesh’s entrance, but Bhel Puri has some of the best costumes.  The backing dancers get to morph from Marvin the Martian to Jack Sparrow while Mahesh sports his classic shirt and jacket combination, although I’m not so sure about his red number with go-faster white stripes.

Overall Aagadu is disappointing, as Srinu Vaitla rehashes ideas from his previous movies and includes too much comedy and an excessive amount of punch dialogue in his formulaic screenplay.  The first half is entertaining enough, but the second half drags until the fast, final showdown which is over almost before it begins.  Mahesh is very watchable and almost manages to carry the entire film with his charismatic screen presence, but even his excellent performance and the best attempts of the rest of the cast aren’t enough to lift Aagadu above average. Best watched in a packed cinema with a large group of Mahesh fans, but in their absence, still worth watching for Mahesh, good action scenes at the start and the songs.

 

Temple says:

Aagadu is similar to other Mahesh films, particularly Dookudu, only longer and much less entertaining.

I found the first half quite dull as the slapstick and comedy uncles piled up and yet the plot never shifted gears.  The ‘comedy’ is broad and overstated – not Mahesh’s finest work. He can be very funny but Aagadu plods along, reusing the same shtick too many times, and Sankar lacks the sarcastic spark Mahesh has brought to other films (like Khaleja or The Businessman). The excessive punch dialogues were meant to be a running gag, but instead seemed a gratuitous reminder of how many other good films I could have been watching instead.  And it’s not an easy film for a new fan as the jokes are very Mahesh-centric, including a nice tribute to his dad, and would largely go over the head of anyone who wasn’t familiar with the oeuvre. The second half is more successful as Sankar FINALLY starts enacting his plans for revenge. Plus I quite enjoyed seeing Brahmi get slapped around. If I had to watch his tedious antics, I was glad to have the vicarious satisfaction of the tight slap.

Despite high production values the CGI work is often poor, both in execution and judgement, and breaks the effect of otherwise excellent action choreography. There is one scene where suddenly Sankar is CGI’d onto a tabletop during a fight and he may as well have been surrounded by a dotted line with a legend saying ‘cut here’. And the subtitles, much as I appreciate the effort, were a bit dodgy. ‘Frightended’ was a highlight, and anarchy had clearly swept through the personal pronoun department. Although I liked the description “Pant. Shirt. Shirt. Shirt.”as I think that is indeed how Mahesh dresses.

Well, at least the Astor has excellent choc-tops. And I hope that nice man The Mahesh Fan and I were talking to after the movie found his way to Doncaster.