Yevadu (2014)

Yevadu

It’s unfortunate that Yevadu didn’t get a cinema release in Melbourne earlier this year, as I think it would be a better watch on the big screen with a fan audience. Vamsi Paidipally’s film takes the central concept from John Woo’s Face Off as a basis for his story, but other than that it’s a fairly standard mass revenge saga with plenty of associated mayhem. Charan plays the wronged Sathya, initially out for his own revenge, but then drawn into a different battle. The ideas are good, but the execution is flawed and Yevadu is no place for any rational thought. However if mindless entertainment with plenty of fights and some great dancing is what you are after, then it could definitely fit the bill.

Yevadu starts off well with Allu Arjun in the role of Sathya and Kajal Aggarwal as his fiancée Deepthi, although it’s rather a long set-up for the main story. Deepthi has been chosen by local Vizag Don Veeru Bhai (Rahul Dev) as the latest object of his desire, and saying no is apparently not a viable option. Veeru relies on intimidation and kidnapping his victims rather than natural charm, and while Sathya is happy to take on Veeru Bhai and his gang, Deepthi is rather more sensible and persuades her fiancé that it would be safer to leave Vizag. However Veeru Bhai’s brother (an enthusiastically vicious Ajay) and his merry band of gangsters catch up with the couple and Satya is left to die on the burning bus after Deepthi is murdered in front of his eyes. It’s a fairly brutal beginning but it neatly establishes the character of Satya as an angry and potentially violent man, but also one who is passionate and prepared to do anything for Deepthi.

Miraculously, Satya manages to survive, but is so badly burned that the only hope for his survival is some rather drastic surgery. Fast forward a few months and Sathya is heavily bandaged but recovering in a hospital. The big reveal is that he has been given a new face – amazingly without any scars, and has also managed to acquire a new body and a different voice to go with his altered look. Sathya (now Ram Charan) hasn’t become any more rational or any less angry however, and he runs away from miracle worker/ surgeon Dr Sharada to find Veeru Bhai and make him pay for Deepthi’s murder.

This part of the film almost makes sense, if you ignore the dodgy medicine and coloured contact lenses.  Charan portrays the part of a driven killer with plenty of maniacal determination that naturally follows on from the perpetually angry Sathya of the opening scenes. Sathya has lost everything he ever cared about and the only thing that matters is killing the men who murdered Deepthi, so a certain amount of focused aggression works well. However no amount of cleverly constructed vengeful violence can disguise the massive plot holes or complete lack of plausibility in much of the story.  Sathya somehow finds a change of clothes after leaving the hospital, as well as his motorbike and a camera, long before he goes back to his old flat where he might conceivably have picked such things up. That is, if they were still there after his months of recovery in hospital –  rather a stretch since everyone thought Sathya was dead. Thankfully there is plenty of great dancing to distract from the flimsy story.

Sathya does what any self-respecting Telugu hero would do and goes about taking his systematic revenge. Along the way there is some comedy with Brahmi and a very out of place looking Amy Jackson, but neither of these makes much impression and both serve mainly as a distraction for Veeru Bhai and his gang. Rahul Dev does plenty of sneering and lusting after various women, but after his initial introduction he’s not particularly impressive as a gangster. His gang aren’t ever shown indulging in any typical gang-like activities either, and there is no particular menace associated with any of the heavies. Ajay even sheds his violent persona and becomes part of the comedy, which suits him just as well but also dilutes any sense of threat from the villains.

Everything follows a straightforward and suitably vengeful path until the interval, when Vamsi Paidipally attempts to justify the face transplant idea and Sathya suddenly comes under attack from a different gang of thugs. It’s a change in direction, but that’s all as the film doesn’t become any more plausible or less over-dramatic, and there are just as many plot holes and inconsistencies.

While the disjointedness of the film is  odd, the problem I have with Yevadu lies more in the characterisation of Sathya. The story would be more convincing if there was a greater difference between the personalities of Charan (the original owner of the face) and Sathya, and additionally if each stayed true to those personalities throughout.  Sathya’s cold, controlled fury and drive to eliminate Deepthi killers to the exclusion of all else  suits the initial story, but much of that drive and anger vanish in the second half. While a certain loss of focus can be explained by the lack of a personal connection, Sathya becomes softer and too much like the character portrayed by Charan in flashback. Equally, although the character of Charan starts off as possibly a more intellectual character, as the story unfolds and he gets involved in fighting against the takeover of an area by a gang of thugs, Charan becomes just as cold and angry as Sathya. Keeping the two personalities more separate could have enhanced the idea of a changed face while the personality was still the same, but as it is Charan and Sathya are so similar that the change in face is almost irrelevant.

The second storyline is even more predictable and clichéd than the revenge story of the first half, although Vamsi Paidipally tries to compensate by increasing the volume of the background music and by repeating every significant shot at least three times. Subbaraju, Shashank and Kota Srinivasa Rao bring their usual competence to the roles of the villains but there isn’t anything novel about either their plans to bring a community to its knees or Charan/Satha’s attempts to foil their plans. The second half also suffers from a clunky romance with Shruti Haasan, which feels shallow and contrived after the intensity and passion of the earlier romance between Sathya and Deepthi.

In spite of my reservations about the characterisation and the relatively predictable second half, Yevadu is still a film that entertains. It’s all much larger than life, but the action scenes are well done and Sathya’s inventive methods of revenge are excellent. The various villains are mainly comical rather than particularly intimidating, although some of the minions are nicely evil, while the excessive over dramatisation is just fun! If you can leave logic behind, embrace the absurdity, and revel in revenge then Yevadu could be the perfect masala watch. 3 stars.

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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.

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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.

 

Autonagar Surya

Autonagar Surya

Deva Katta’s Autonagar Surya doesn’t seem to know quite what it wants to be and as a result ends up as a disappointing muddle.  There are elements of a message film with the ‘one man against the system’ storyline, but at the same time the film attempts a broader social commentary while following a standard mass entertainer formula – including the obligatory romance and fight scenes.   There is little of the subtlety Deva Katta brought to Prasthanam and the additions of Brahmi and Venu Madhav with a woeful comedy track certainly don’t help.  After watching the more recent Manam, where Chaitanya displayed improved acting maturity, it’s disappointing to watch his uneven performance here, particularly since the film focuses heavily on his character. In fact the best performances come from the support cast, including Surya’s group of friends and the assorted thugs and villains, but despite their best efforts they’re not enough to make Autonagar Surya more than a one time watch.

Autonagar Surya

The film starts off well enough – if a little on the violent side.  After an initial parade and explosion, where Chaitanya’s Surya is blasted into the sky like a cheap rocket, there is a flashback to explain who he is and how he got to be a human firework.  The young Surya is orphaned when an obnoxious thug detrains his parents when they try to intervene in a rape.  Surya ends up being brought up by his uncle (Sai Kumar) who has little time for the orphan as he thoroughly disapproved of his parent’s marriage, and Surya moves in with the auto mechanic opposite.  Cut to a few years later where Surya has grown up to develop an interest in all things mechanical and demonstrates an accompanying bad fashion sense.  Although to be fair, so do his friends too.  So far so good then, until he gets on the wrong side of the local union boss and ends up in jail for murder.

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This turns out to have been a blessing in disguise, since while in jail Surya manages to study for a degree in engineering.  On his release, after a seemingly short time (5 years for murder?), he pressures his friends into helping him build a battery powered car.  However the union is still in power and worse still, his uncle is now the elected president and still has no time for his nephew (not his niece as suggested by the subtitles!).  However Surya has the hope of the downtrodden and a powerful vocabulary on his side.  With the help of his friends he decides to tackle the union thugs, but despite all his speechifying and rhetoric he basically employs their dubious tactics of fighting, kidnap and intimidation to achieve his aims.

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Sticking to the formula, there is a romance between Surya and his uncle’s daughter Siri (Samantha).  Samantha looks beautiful and has a couple of good scenes where she gets to explore her comedic side, but mostly she has frustratingly little to do. The love story is really only an excuse for a couple of forgettable songs with dull choreography and is dealt the death knell by a distinct lack of chemistry between Chaitanya and Samantha.  They seem to be more like best mates rather than lovers, and that probably would have made a more believable storyline too.

Autonagar SuryaAutonagar Surya

There are many fight scenes, particularly in the second half, which tend to be on the grisly side with plenty of spouting blood and the odd limb or two flying around.  The graphic fights seem to be at odds with Surya’s more intellectual dialogue relating to the human condition and it just doesn’t add up that such a technical and generally rational genius should also be a competent and vicious fighter. Chaitanya also doesn’t quite look the part, as he seems too young, and just not angry enough to be the classic ‘angry young man’ that I think Deva Katta wants to portray. Generally there is an overall lack of passion which makes Surya’s revolutionary speeches and rabble rousing dialogues fall somewhat flat.  It’s so frustrating when Naga Chaitanya has demonstrated that he can be much better than this.  At least the union thugs all know exactly what they are doing and why, so the various atrocities carried out by the gang fit more easily into the mass formula.  Ajay is particularly effective as one of the main villains, and it’s good to see him in a more protracted role.  Jayaprakash Reddy is a little too subdued, but is otherwise fine and Madhu impresses as an exceptionally evil mayor.

Autonagar Surya

While the first half shows some interesting potential, the second half drags and shows Surya to be just as vindictive and violent as the thugs he is trying to replace.  The good ideas introduced at the beginning seem to be submerged beneath repetitive fights, numerous references to RGV’s Shiva, and oddly placed songs.  Maybe I expected too much from Deva Katta after Prasthanam, but Autonagar Surya doesn’t come close to his previous film, despite the good ideas at the start.  Overall Autonagar Surya is disappointing on many levels, although does warrant a look for the excellent support cast and some impressive sets.

Desamuduru (2007)

Desamuduru

There are a number of reasons why I love this film, although they can be summed up easily as plenty of Allu Arjun and dancing! A lot of work has gone into showing off Bunny’s six-pack throughout the film, and I definitely approve.  In addition, there are some great fight scenes (where Bunny follows the Salman Khan principle of removing your shirt wherever possible), Cinema Chaat favourites Ajay and Subbaraju appear as villains, and it’s one of the very few films where Hansika doesn’t irritate me to the point of switching off.  And there is of course this:

Don’t be put off by the picture – there is nothing of Ali in this clip!

The appeal of Desamuduru definitely lies with the cast and their energetic performances rather than a good storyline or even well-written and believable characters – because it doesn’t have either of those.  Desamuduru was Puri Jannaadh’s follow-up to Pokiri, and perhaps after such an exceptional effort, he just ran out of new ideas.  The plot is paper thin and the story follows a well-used formula without anything novel in the execution.  Perhaps as compensation, the director ups the pace, meaning that the lack of a storyline tends to vanish in the constant confusion of fight scenes and action shots.  At least the high energy ensures that Desamuduru has mass appeal, even if it doesn’t rise to the dizzy heights of Pokiri.

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Bunny’s Bala Govind is an arrogant young TV reporter working for his father on the crime beat with Maa TV.  He has a basic idea of what is wrong and right – for instance, killing people is wrong.

Desamuduru

But beating them up within an inch of their lives is apparently perfectly OK.

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Some of the detail in these scenes is excellent – I love how the drunk pulls his bottle of booze out of harm’s way, and how Bunny’s shirt slowly rips as he flexes his muscles – classic!

Bala’s latest altercation ends up with Murugan (Subbaraju) in hospital and Bala under threat from Murugan’s father and local gang boss Tambi Durai (Pradeep Rawat).  Bala however escapes to film a travel program in Kulu Manali – a little bit of a change from crime reporting, but apparently travel is where Bala feels he has his calling. Anyway, swapping the mean streets of Hyderabad for the mountains of Himachal Pradesh seems perfectly reasonable, especially when there is a gang of Tamil thugs baying for blood as incentive.  Plus it means we get this song along with a backdrop of snow-clad hills and slightly bemused looking locals.

Bala has a traditional Telugu approach to love – see, instantly fall head over heels, stalk and wear the girl down until you can convince her to marry you.  Sigh.  This time the unwilling heroine is Vaishali (Hansika Motwani) who is a Sanyasin and appears completely uninterested in Bala despite his total belief in his own irresistibility. The rest of the word sees Vaishali as a demure and quiet Sanyasin, but this is how Bala see her, which seriously makes me question his fashion sense even in fantasy dance sequence land.

Hansika is surprisingly OK here in a role that doesn’t require her to do very much.  I didn’t particularly  like or dislike her the first time I saw this film, but compared to subsequent appearances I think this is one of her better performances.  She looks suitably demure at the beginning as a Sanyasin and manages to bop around reasonably convincingly in the songs.  Later on in the second half when the romance quotient is reduced to almost zero, she continues to hang in there, and acts appropriately wimpy in the subsequent fight scenes.

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There isn’t a lot of chemistry between her and Bunny, but some of that is down to the plot, particularly since no sooner does Vaishali declare her love than the film switches back to action and fight scenes rather than playing up the romance.  At least that is until we get to the ultimate fan-girl song in Manusuley.  Even the song’s similarity to Dil Se helps bump up the heat factor and when you add in Allu Arjun drenched in litres of oil smouldering at the camera it definitely reaches sizzling hot! Except I tend to think: all that sand with all that oil – ouch!

Bunny at least seems to be thoroughly enjoying himself throughout.  He looks very happy to be surrounded by a bevy of beautiful girls in the songs, and in a number of the scenes with Subbaraju and Ajay I’m convinced that they ended up ROFL most of the time.  It’s one of my favourite things about Bunny that he seems to be perpetually about to crack up, so I end up smiling every time – even if it’s totally inappropriate.

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There is a tedious comedy track involving Ali which starts out bad and just gets worse as it goes along, but thankfully that’s it for comedy uncles.  Much better is the comedy provided by the altercations between Subbaraju and Bunny, and the histrionics provided by Telangana Shakuntala as Murugan’s evil mother.  Jeeva also does his evil henchman sidekick while Ajay is excellent as a thug who cannot talk and adds both to the mayhem and the comedy in equal measure.  It all adds up to a lot of this – Reeey!!

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A number of the fight and chase sequences are excellent with some good choreography and wire work,  and it’s just a shame that they aren’t connected together by a better storyline.  There is of course the obligatory item number featuring Rambha which pops up at an odd time and doesn’t add anything at all to the film, but it’s a least one more opportunity to watch Bunny dance.

Desamuduru is a hodge-podge of a film which relies on a charismatic cast, fast action (and even faster dance moves), along with the appeal of beautiful scenery in Manali .  It’s a film I watch over and over again, just for the songs and Allu Arjun’s dancing.  Not just for those shirtless scenes – of course not! It’s not a film for everyone but if you can leave your brain at the door and just sit back for the ride there is plenty to entertain – although judicious use of the FF button makes it even more enjoyable.  Desamuduru gets 2½ stars for story and execution, but 5 stars for enjoyment and re-watch potential!

DesamuduruIt sure is!

Ramayya Vastavayya (2013)

Ramayya Vasthavayya

It seems like a very long time since the last NTR Jr. film and since I read some speculation about Tarak’s ‘new look’ I was interested to see exactly what Harish Shankar had come up with.  However the ‘new look’ is really just the old look, except for the odd moment on horseback which I admit was pretty cool.  And there were some groovy new shades.  But otherwise Ramayya Vastavayya sticks to the same old formula with the usual faces reprising roles they have played a million times before. Ultimately not even the actors seem to be able to rustle up much enthusiasm and although Tarak and Samantha both work hard and deliver good performances, the film is still let down by the clichéd storyline and stereotypical characters.

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The first half of the film is generally entertaining since it focuses on the developing romance between Nandu (NTR Jr) and Akshara (Samantha).  The romance aspect was perhaps enhanced by the fans behind throwing rose petals along with the usual strips of paper, but at least it made for a pleasingly more fragrant trip back to the old Chinatown cinemas in Melbourne.  As I’ve come to expect (yawn), Nanu sees Akshara one day while hanging out with his buddies at a coffee shop and falls instantly in love.  Akshara is not quite so sure and the ensuing comedy as Nandu tries to win her heart with a variety of schemes is amusing enough to overcome the usual discomfort of the’ stalking = true love’ theme.  

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Rohini Hattangadi pops up as an aunt of some sort to Akshara and her older sister and although her role is small and fairly gratuitous she still steals the limelight every time she appears.Presumably to appeal to a wider audience, there are numerous references back to classic films, the most blatant being Tarak’s entry scene.  Most of these are fairly obvious and seem contrived to ‘fit’ into the storyline, and I’m sure there are more that I missed (hopefully more subtle) by not understanding the dialogue.  

Samantha looks gorgeous and there is only one attempt by the notorious Telugu shoe designer to make her look ridiculous so I’m presuming she must be a favourite with wardrobe.  However, Akshara is a standard Telugu heroine, whose only purpose is to make the hero look good and is otherwise completely one dimensional, which seems a complete waste of Samantha’s talents. Still, she does get to dance and there is good chemsitry between Samantha and NTR Jr. which makes their interactions more enjoyable to watch.

Tarak’s Nandu seems a fairly typical hero – there are the requisite commanding dialogues laced with a modicum of modesty and comedy, excellent dancing skills and the ability to defeat numerous opponents by the mere flexing of a muscle or two accompanied by a snarling grimace.  As always, Tarak delivers exactly what is expected of him with plenty of animation and charisma, but since he’s playing the same character he has played in his last few films it feels stale and completely predictable.  The only really up side are the songs which feature better than usual choreography and excellent dancing from both Tarak and the backing dancers.  I loved the addition of spectacles as part of the costumes for one of the songs and the music by S. Thaman was generally catchy and effective, and at least better than the recent crop of new releases.

Ramayya Vasthavayya

After the interval, Nandu moves on from bouncing people off wall, floors and sundry items of furniture to hacking people apart with increasingly bloodier and even more poorly choreographed fight scenes.  I’m not sure who is responsible for the action for Ramayya Vastavayya, but they seem to have taken inspiration from episodes of Tom and Jerry rather than anything that remotely resembles a feasible fight scenario.  The gore content rises but it’s so ridiculous that even the various severing of limbs has little impact, particularly since the fights are so obviously staged and formulaic to begin with.

Ramayya Vasthavayya

The second half also moves the action to the countryside for Akshara’s sister’s wedding and attempts to explain the antipathy between Akshara’s father Nagabhushanam (Mukesh Rishi) and two assassins (Ajay – yay!) who tried to kill him at the beginning of the film.  This involves a lengthy flashback with Shruti Haasan as Nandu’s previous fiancée Amullu, but it’s dull, overlong and Shruti and NTR Jr. have absolutely zero chemistry together.  To make matters worse, P. Ravi Shankar appears as a stereotypical evil and lecherous politician with mannerisms straight out of the ‘Villains for Dummies’ handbook and, inevitably, Kota Srinivasa Rao appears as his equally evil father. Doesn’t he ever get tired of playing the same role?  Adding to the stereotypes, Tanikella Bharani appears as Amullu’s father, Saranya Ponvannan as her mother and M.S. Narayan briefly appears in a throwaway role which adds absolutely nothing to the plot.  Harish Shankar tries to evoke American crime shows by tying together moments from the first half with explanations later in the film, but it looks clumsy and is generally ineffective.

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Ramayya Vastavayya disappointingly doesn’t cover any new ground and Harish Shankar sticks to a very well-worn formula without adding anything novel.  With such a tired screenplay and an abrupt change of pace in the second half, it’s really only the songs that appeal despite generally good performances from the actors.  NTR Jr. is as good as ever, but even with his energy and the appeal of two heroines Ramayya Vasthavayya is really a film solely for the fans.  Still, it’s worth watching at least once for the dancing, which is excellent and much better than the film deserves.