Chanakya Sapatham (1986)

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One of a half dozen films K Raghavendra Rao churned out in 1986 (including the awesome Kondaveeti Donga), Chanakya Sapatham again pairs Chiranjeevi with Vijayashanti in a ripping yarn of smugglers, flight attendants and the Indian Customs department. I wouldn’t go so far as to call Chanakya Sapatham a neglected masala masterpiece but I do think it deserves some love.

Shashi or Sasirekha (Vijayashanti) is a flight attendant, unwittingly caught up in a smuggling operation by BOB CHRISTO! Bob, with his trademark poor judgement, hides a pouch of diamonds in her blouse (no, I don’t know how she didn’t notice) and when he  tries to get it back, Shashi puts up a decent fight and Chanakya (Chiranjeevi) leaps to the rescue. It’s like the finale of Doodh Ka Karz only with flying Chiru instead of snakes.

Naturally Shashi is swept off her feet by the dashing customs officer in his very snug uniform. They fall in love through a Kodak moment and product placement. Oh the visual metaphors.

Rana (Rao Gopal Rao) is the main villain. Bless the Paruchuri brothers for going to the trouble of trying to think of vaguely sane reasons for him to do some things, and then make him explain himself. It was unnecessary but greatly appreciated.  Rana’s chief henchman Ranga is a flamboyantly unpleasant creature and Rana’s son is a nasty piece of work. The son (Sudhakar) works for the airline, or at least owns a uniform, and was in on the smuggling but hasn’t quite got the wattage to do much off his own bat. They have little depth of character, so I was pleased to see they have that nice tricolour chandelier in their house, and I think I also recognise the stuffed tiger and the mysterious beep boop machine from previous outings.

Rana runs a Natural Health Remedy Centre. I liked the apparent lift and shift substitution of ‘karate school’ for ‘yoga school’ as a background for some of the fight scenes.

Chanakya is hot on Rana’s trail, but frustrated at every turn by the sleazy businessman’s connections and ability to weasel out of any trap. But how do they not see Chiru in surveillance mode? His pants are so blindingly white.

Both Shashi and Chanakya are close to their families.

Shashi’s sister Savitri was married but due to dowry issues (Shashi was robbed on the way home from the bank), the in-laws turned her out. Financial pressures are causing strife at home, and Shashi is the only one who seems to have a chance of fixing things. The baddies have their eye on her as a way to get to Chanakya, and offer her a smuggling job that would pay for Savitri’s dowry and put the family back on an even keel. She traps the smugglers and gets a reward which she intends to use to pay the outstanding dowry and get her sister settled.

Chanakya’s family are close and affectionate, and I liked their domestic scenes. There are so few times when an older married couple get to show an affectionate or playful  side, and I really liked those moments between Kaikala Satyanarayana and Annapurna. Chanakya is the only child and, of course, the centre of his parents universe. When Rana sets Nagarjuna up to be arrested as a smuggler Chanakya is bent on revenge and justice, which may actually be more or less the same thing in this instance.

Chanakya and Sasirekha are united by their mutual attraction and also the mission to shut Rana down. I liked that they were both smart, both tried to take care of things themselves, but could accept or even ask for help when they had to. Chanakya understood her reservations and made an effort to address her concerns quite plainly to avoid further tension.

The relationship development  was all quite sensible (for a film) as well as providing fuel for some excellent  concepts for Chakravarthy’s songs.  Apart from the usual hillside prancing, the songs take place around a giant camera, a plane made of flowers with dancers dressed as airplanes, and in and out of a tray of photo developing chemicals, or even just surrounded by neon tube lights.

Yes, this is a movie that embraces the technology of 1986. And Shashi generally looks fine (for 80s filmi fashion), even in the more imaginative sequences. Vijayashanti demonstrates she has nailed the saree run with hair toss. My biggest disappointment was Chiru’s footwear which was less than spectacular and relied heavily on the monotone ankle boot. But I rarely enjoy product placement as much as I did in this film – well done Luma Lamps people, well done.

Vijayashanti is always a pleasure to watch, and I like her rapport with Chiru. They’re well matched in the choreography, and neither of them lacks energy or commitment to the role. Shashi is smart and while she wants to sort things out herself, she appreciates Chanakya’s sincerity in wanting to help her and considers his offer rationally. I liked that he had to put his cards on the table before she would accept his gift and they didn’t play silly games. Also, this is a remarkably non-rapey film for 80s mass. The villains stay on task and when they threaten Shashi it is because they need her to do something for them, not run around screaming.

 

I liked the very specific design and fit-out for some action scenes. I would never have thought to create a factory full of…exploding ice…but it came up a treat. I always enjoy a good fight in a factory full of stuff that is only there for the hell of it. More exploding ice! A statue! Things in barrels! A luge run! And a later fight on the beach uses swings. So fun! There is more than a nod to Jackie Chan and the Hong Kong school in some of the fight choreography and Chiru has the right attitude to carry it all off – he milks those bendy iron bars and flying kicks for all they’re worth, and then some.

The earlier action scenes are funny but still a bit exciting. The finale starts out with an unfortunate tendency to Comedy before the drama and action ramps up again.

I could have done without most of the last 30 minutes, well maybe except for the bit where Chanakya rocked up not only in disguise but in a lotus submarine. But then the movie redeemed itself with what may be the best use of a wheely board and improvised ski poles since Shashi Kapoor in Duniya Meri Jeb Mein.

Vijayashanti and Chiranjeevi are a delightful on screen pair, and while Chanakya Sapatham doesn’t break new ground it does what it does so very well. 4 stars!

Chanakya-Sapatham-Karate

Anji

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Anji is an unashamed tilt at a commercial blockbuster with an obviously huge budget and everything including the kitchen sink by way of recommended masala ingredients. Kodi Ramakrishna directed Devi, Ammoru, and the more recent Arundhati, all of which had big special effects and equally big performances. I think those films are more effective than Anji overall as the stories were less obviously ‘inspired’ by Hollywood. Also I suspect that casting such a big name hero skewed the story towards him, leaving mostly comic relief and buffoonery for the other performers. But the visuals are pretty good and Chiranjeevi brings his own style and verve to the adventure.

Back in 1932 a nasty man with blue contacts and huge teeth (Bhupinder Singh) tried to steal a sacred relic, the Aatmalingam. The Aatmalingam catches the waters of the Akasa Ganga every 72 years, and drinking that water grants immortality. Luckily for us and not so luckily for him, he triggers the defences around the Aatmalingam. Bhatia barely escapes, losing an arm to a sentient flying sword.

Anji-fingernails

I must just question the wisdom of sending a man with those fingernails to do a delicate job of thievery.

In 2004, when the heavenly miracle is due to occur again, Bhatia (now overacted by Tinnu Anand with odd prosthetic earlobes) once again has a crack at gaining supreme power. A diary containing the pertinent lore was sent to Swapna (Namrata Shirodkar), a student in the USA, to keep it safe. She returns to India and thanks to fate and public transport, meets Anji (Chiranjeevi) and is pursued by idiots (MS Narayana and gang). After hiring Anji to escort her to her destination, the two realise they have to protect the Aatmalingam (and all the people) and defeat the bad guy. They join forces in an adventure with epic overtones and rush towards the final confrontation.

There are numerous scenes lifted directly from other films – the Crocodile Dundee knife scene, references to the Indiana Jones series and Romancing The Stone among others – but with a Telugu mass and Megastar spin.

Big special effects are one thing but the actors still have to deliver. Anji rights wrongs, protects the defenceless and keep an eye on the guru (Nagendra Babu in some terrible wrinkle makeup). One thing I consistently enjoy about Chiru’s films is that even in the most familiar material he doesn’t seem to be phoning it in. I liked that Anji was a little bit whiny and ‘why me?’ in some scenes but his morals were sound. Chiru had good rapport with his brother Nagendra Babu and with the other filmi family members. The action scenes (by Peter Hein) are fast and often played for laughs as well as adrenalin, and Chiru highkicks and leaps like there is no tomorrow. Anji is ambushed in the jungle, beaten and pushed over a cliff but Heroes bounce when they hit rock bottom (literally and figuratively it seems). The dances are energetic and lots of fun. Anji is often the object of female fantasy in the songs so I quite enjoyed pondering why someone would imagine that particular outfit or that dance move when their thoughts turned to love (or lust). Chik Buk Pori is beautifully shot and features Chiru and his backing dudes, Ramya Krishnan as a flirty con artist, singing orphans and a random white chick. Who could ask for more?

Namrata Shirodkar is perhaps best known as the woman who persuaded Mahesh Babu he could wear t-shirts, AND wear them one at a time. Oh, and she is a former Miss India. Swapna seems like a smart modern girl while in the US – she flies a plane, drives a fast fancy car – all of which is promising in an adventure. So I was confused when she came to India and walking and talking simultaneously seemed to be rather challenging. Her acting mostly ranges from jiggle and giggle to SCREAM and grimace. And the Telugu dubbing gives her a breathy little girl voice which is just annoying. She doesn’t have great chemistry with Chiru, but romance is a fair way down the ranks of subplots which was refreshing. I was expecting more substance in this role based on Ammoru and Devi which had fierce female leads. Namrata’s performance holds up reasonably well as she wasn’t challenged to deliver much more than be a foil for The Hero. Although Swapna did remember some of her foreign skills and I was pleased to see her steal and hotwire a bus to save the obligatory orphans.

The songs are well integrated into the action so they don’t halt the momentum. I wouldn’t care anyway because Chiru! Dancing! Lawrence is credited as a choreographer and he works so well with Chiranjeevi. Swapna throws some bark on the fire and ends up stoned. He knows what it is but he inhales anyway (eventually, after helpfully explaining what was happening). All of which leads Abbo Nee Amma. Om Shanti Om is stylistically a little weird but Namrata’s outfits add some entertainment value even if her dancing doesn’t. Reema Sen makes an appearance in Mirapakaya Bajji that has excellent use of Chiru.

There are some cool effects but there are also polyester stick on beards and an unconvincing roasted lizard on a stick. And a baby crocodile that squeaks like a rubber mouse. But I was pleased to see that when Anji’s dog attacked to save a family member it was clearly a stuffed toy and not a real dog being shaken around. And the horse stunts were not too scary. Where the adventure intersects more with history and religion, the quality and scale of the effects improves although the gore levels were consistent throughout. The religious elements are woven into the action very well and give the story more substance. In one scene Anji accidentally does the right things in the right order and is protected from the giant snake and flying sword. Because I understood what he should do I found the sequence gripping, where sometimes I wonder ‘who made this nonsensical ritual up?’. Some of the magical effects when the Aatmalingam is discovered are very pretty, and there are some excellent locations and sets. Maybe Kodi Ramakrishna is a thrifty director and spends his budget where it will have the most impact. The final confrontation takes place in the Himalayas and Heaven, under the eye of Shiva. It’s all quite grand and otherworldly.

Anji is entertaining from start to finish. My DVD ends quite abruptly following the showdown between Bhatia and Anji but I am quite happy as Swapna was doing something useful for a change, and I suspect if there is a missing scene it probably has singing orphans. Chiru owns his role and his energy is evident in every scene. If you like fantasy or supernatural adventures or have a soft spot for Indiana Jones and Chiranjeevi then I highly recommend Anji. 4 stars!

Gharana Mogudu (1992)

Gharana Mogudu

Gharana Mogudu is a step back in time to the Nineties, although it seems more like the Eighties considering the costumes and general shenanigans. The songs deliver the costumes and as for general shenanigans, there is Uma Devi (Nagma) – a boss from hell who plots a marriage with her factory’s union leader to get her revenge for his popularity and force him to fall into line.  Naturally since the union leader is Chiranjeevi, Uma Devi’s plans are never going to work out the way she wants, but there is a lot of entertainment in watching her attempts.  Nagma is wonderfully arrogant and egotistic in a role that lets her be as nasty as possible, but still look stunning as she efficiently crushes anyone who dares to oppose her management style.  Chiranjeevi’s Raju is naturally the complete opposite, kind-hearted and generous, but just as stubborn and quite determined to stand up for his rights and those of his fellow workers.  Of course he also dances up a storm and dishooms when and where required making Gharana Mogudu an excellent celebration of all things Megastar and perfect for this year’s Megabirthday celebrations.

Gharana MoguduGharana Mogudu

Before we can get to Uma Devi and her hazardous factory in Hyderabad, Raju is introduced as the dock worker to turn to in a crisis – even if that crisis is getting beaten up at an illegal fight betting ring.  Naturally Raju wins the subsequent show-down but finds that the money he won has vanished – cue the excellent Bangaru Kodi Petta (which was remixed and re-imagined for Rajamouli’s awesome Magadheera ) with Disco Shanti running off with the betting money.

When his mother (Shubha) has a stroke, Raju leaves Vizag and the joys of waterfront employment and heads home to Hyderabad.  After arriving in the city, Raju fortuitously saves local businessman Bapineedu (Raogopal Rao), from a gang of thugs and as a reward is given the opportunity to work in his family factory. This sounds too good to be true, and of course it is, since Bapineedu and the family business are both actually run by his daughter – the boss from hell. Uma Devi has no interest in her workers except as a means to increase profit and make her the top tax payer in India (her ultimate ambition apparently).  She has the union rep firmly under her thumb to ensure that there are no strikes despite her heavy handed treatment and is prone to petulant displays of temper if her will is crossed.  I’m not sure if it’s one of her petty cruelties to make her secretary Bhavani (Vani Viswanath) wear such odd outfits to work but in her own time Bhavani looks much more appropriately dressed, so I have my suspicions, particularly when Uma Devi appears so co-ordinated.

 

Uma Devi is just as bad at dealing with people on a personal level and the thugs who attacked her father were actually sent by Ranganayakulu (Kaikala Satyanarayana) after Uma Devi turned down a marriage proposal from his son (Sharat Saxena).  Ranganayakulu and his son are the main villains of the piece and while their response to a marriage refusal may seem a little over the top, to be fair Uma Devi is annoying enough that wiping her from the face of the planet doesn’t seem all that unreasonable.

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Uma Devi’s plan to marry Raju also disrupts the course of true love as Raju and Bhavani embark on an office romance after they meet each other on the way to work. A bicycle ride in the rain leads to this excellent song, with Vani Viswanath keeping up with Chiranjeevi in the dance stakes despite his tendency to attack her with a bicycle – I really did want Bhavanai to dispose of Uma Devi and run away with Raju after this song!

Sadly Bhavani is much too sweet to be a murderer, so Uma Devi goes ahead with her plan and Raju ends up moving into Bapineedu’s massive mansion with his new bride.  The house is incredible, with statuary everywhere and a huge central imposing staircase, but none of that fazes Raju who continues to work on the shop floor and fight for workers’ rights.

Gharana MoguduGharana Mogudu

Now at this point you might think that Raju’s morals and basic decency might start to have an effect on Uma Devi and make her realise the error of her ways, but she’s still just as unpleasant as ever and it takes a drunken night and a lungi dance before she even begins to appear remotely bearable.  Before then there are plenty of great confrontations between Uma Devi and Raju, shifty scheming from Ranganayakulu and Uma Devi’s manager Sarangapani (Ahuti Prasad) and plenty of those fantastic costumes to enjoy.

Chiru is dashing and very much the mega star as he mixes romance, compassion, ethical principles and his stance on workers’ rights with great dancing and action sequences.  Pretty much everything gets mixed into the film and Chiranjeevi really is awesome no matter what he is doing! Nagma is delightfully vile and holds her own against Chiru keeping the focus of the film on Uma Devi and her machinations, while the plots of Ranganayakulu etc are totally overshadowed by her stormy relationship with Raju. She’s almost the classic Disney villainess and it seems obligatory to boo and hiss whenever she appears and naturally cheer for Chiranjeevi and Bhavani. Yes, even when watching on DVD in the comfort of your own living room.

Along with all the drama there is room for some comedy too – Brahmi pops up but unfortunately makes little impression without the benefit of subtitles.  However the rest of the humour is based on interactions between Raju and the other characters, and being more situational comes across better. It’s a true masala film and although the plot is ridiculous and the characterisations over the top, Gharana Mogudu is still completely entertaining.  Excellent performances, great songs and plenty of Megastar style make this definitely one to watch. 4 stars.

Chiranjeevi

 

Jebu Donga (1987)

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While Jebu Donga may not be the most deep and meaningful film of 1987 (or indeed any other year), it does have a slightly different approach to the Mass Hero as well as sufficient quantity and variety of dances and explosions to keep me amused.

Chiranjeevi is Chitti the pickpocket, happily fleecing the rich, helping some of the deserving poor and indulging his love of disguises. Bhanupriya is his rival in petty thieving, and has an equally strong commitment to the dress-ups and convoluted schemes. Satyanarayana Kaikala and Maruthirao Gollapudi are the not as bumbling as they seem CBI officers who need to get a spy into Raghuvaran’s gang. And Radha is a woman of mystery. The police decide to use the unwitting Chiru as a distraction, feeding the crooks a fake top secret file that names him as Special Agent Chakrapani. While he goes about his daily crimes, the crooks are after him and the cops are watching the shenanigans. But eventually things come to a proper masala conclusion, albeit one with a couple of surprises.

While Telugu mass films are all about the hero, one of the things I enjoy most about Jebu Donga is that Chiru’s character is not as much in control as he thinks he is. He reacts to the confusing succession of attacks and rescues but has no idea why some things are happening. He tries to beat Bhanupriya’s character to a heist but ends up losing his trousers – don’t panic, it is all quite family friendly. Radha appears as a woman from Chakrapani’s past and Chitti is unable to say no to her. And the police manipulate him so easily. He does have to do his bit to save everyone at the end of the film, but he is not the usual know-it-all lone hero.

Chiranjeevi makes the most of his role, adding a dash of levity to the fight scenes as well as flirting up a storm. I looked over my notes from watching the film and at one point I have just written “Jeep! Whips! Leaping!”  Chitti is a good person apart from being a thief, and he helps out where he can. One of his robberies even helped a reluctant bride escape an unwanted marriage. He has what might be a sister and younger brother (Shanmukha Srinivas) as well as his mother to provide for, and pretends to them that he is a labourer doing honest work. The songs are a real highlight, and not always just for the outfits. I love Rajaloo Rajalakshmi where Chiru steals Bhanupriya’s clothes while she is bathing.

His dancing is uninhibited and cheeky (even including a bit of snake style), and once she finds something to wear she dishes it up in equal measure.

I’m not so sure about his wardrobe choices. The double denim and highpants are a symptom of the late 80s but I really do not get the sleeveless skivvy.

Bhanupriya’s character is a bit ditzy although she exhibits competence in her chosen field of cons and theft.  While Chiru is relatively plainly dressed, she wears some outrageous outfits and more than holds her own in the dances. I’m not sure how she is related to Chitti but when she falls for him it feels more as though they have been meant for each other for a while but are only now admitting there is an attraction. And where many a filmi heroine has to be rescued, she does her share of saving him too. She knows she is smart and sees no reason to let the slightly dim but charming Chitti overrule her.

Radha’s character is the real secret agent. I think she tells Chitti that he is a perfect lookalike for the deceased Chakrapani and he cannot resist her helpless female act. He should have been alerted when her dream sequence song turned up looking like this! She is smart, runs her own operation although her dad is one of the CBI officers using Chiru, and she has firm views on what needs to be done. Like Bhanupriya, she will accept help but she doesn’t always wait around for it to materialise.

All good heroes need a bad villain. Raghuavaran is the sleazy Peter, the main man who runs operations  for the completely insane Kannada Prabhakar. I always like a bit of megalomaniacal set design and sadly that is where Jebu Donga fails me. Peter lives in a respectably glossy mansion decorated with portraits of himself and masses of horrible modern sculptures while the bad guy HQ is a simple rustic camp. Not quite up to the Mogambo gold standard despite the impressive commitment to training shown by the minions. Most of the thugs wear that pale blue or mauve, but there are special colour coded sets as well as some plain clothes goons. Satyanarayana and Gollapudi are actually lots of fun as the police masterminds. They amble around, two portly middle aged gents who giggle like school girls as they watch the drama ebb and flow around their hapless helper. They also have some odd little flashbacks to what I think are Gollapudi’s terrible ideas for going undercover.

Chakravarthy’s soundtrack  borrows from Mr India, Michael Jackson and who knows what else. It’s all great fun, largely due to the enthusiasm of Chiranjeevi and Bhanupriya. And for once, the ladies get the sequins and lycra while Chiru dresses relatively conservatively.

I always have reasonable expectations of a Chiranjeevi/A Kodandarami Reddy film. There will be heroics, fights, dances, romance, eyeball melting colour and movement and almost no traces of logic. Jebu Donga delivers and shows Chiru in a more comedic, blundering hero role. Chitti may be a bit thick but Chiru knows exactly what he is doing and how to wring maximum entertainment from his material. The movie is available on YouTube. If you’re wondering, I deliberately chose the upload with the most offensive watermarks. Dear Reader, if you know anyone at that poxy company, please gently slap some sense, or at least some shame at defacing a film, into them.  Well worth seeing for the excellent cast and the frothy material. 3 ½ stars!

I will leave you with a Megabirthday Masala Multiple Choice Quiz. Please examine the following image.

Jebu-Donga-Quiz

Which of the following happens next?

  1. Evil Overlord makes crippled dance-obsessed Shanmukha Srinivas dance (a bit like Basanti in Sholay)
  2. Chiru, tied up and dangling in mid-air, escapes by breaking the trees from which he is dangling
  3. A Ma is terrorised by being given an unwanted haircut
  4. Radha kicks the bejesus out of about 47 bad guys
  5. Someone is so determined to detonate a bomb that he sets himself on fire and rolls across a clearing to ignite the fuse
  6. What do you mean which of the following? That’s a rookie question. All of the above, of course!

Megabirthday 2014

 

Megabirthday2014

Another year, another Megabirthday just around the corner! We’ll be celebrating things Chiru related during August and of course you’re invited.

Pop over to the Facebook page *points at link on righthand side of page* and vote for one of the topics I’ll be writing about, or leave your ideas in the comments. Current suggestions (courtesy of Liz and Katherine) are:

  • Chiranjeevi’s cowboy years
  • The many hues of Chiru – a study in colour (but how to pick just one colour?)
  • Chiranjeevi the Serious Actor

Join in by posting on your own blog, let me know, and I’ll collate and publish the links. Or just watch for the #megabirthday2014 hashtag on Twitter and have a chat about all things Chiru. Like this.

If your eyes still work after the 2m 44s mark, check out those boots! And those moves.