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.

Seethamma Vakitlo Sirimalle Chettu

seethamma-vakitlo-sirimalle-chettu-poster

Set mostly in a beautiful rural location, and with Mahesh Babu and Venkatesh starring as brothers, this could have been a great feelgood movie. Writer/director Srikanth Addala has crafted a picturesque and sentimental family oriented film. Unfortunately he neglected to provide anything by way of drama and the brothers are unlikeable. It was very disappointing to see so much potential go to waste.

It’s a charming film to look at.  I loved the heroes’ introduction; everything from the composition of shots to the clever editing and the choreography that featured Venkatesh and some great random street dancing was so appealing. Unfortunately it was downhill from there as Venkatesh and Mahesh play entitled manchildren who exist at the centre of their own and all other universes.

Manchild 1 (Venkatesh) is fired from his job by a surly Kota Srinivasa Rao. It seemed that M1 was sacked because he was late or lazy or just rude and off he went in a cloud of indignation. Manchild 2 (Mahesh) was irresistible to women (The Mahesh Fan agrees) and constantly told these poor girls why they were not good enough for the likes of him. M2 is sarcastic, cranky, often funny, but the humour is mean-spirited in tone. M2 does tell M1 he needs to improve his attitude but neither man really thinks the problem is with them, it is always someone else.

Prakash Raj is introduced wandering around the village smiling benignly upon all he sees. He is a kind of a ‘simple man is a holy man’, and is totally absent from, and oblivious to, his sons’ lives. Prakash Raj phones it in, and added nothing to the film. Again – what a waste!

Seethamma Vakitlo Sirimalle Chettu Mahesh and Venkatesh

The family of mother, grandmother, sister and cousin devote themselves to running the household while M1 and M2 devote themselves to self-pity and lounging around until the next meal. Seeta (the cousin, played by Anjali) has her eye on M1 but he is oblivious because of course she should always be there to wait on him hand and foot. The boys’ sister Radha is married to a relative of M1’s former boss who looks down on Prakash Raj as a bit of a country bumpkin or something. There are tensions between the families, but a little compromise or swallowing of over-inflated pride by the boys could easily have de-escalated all that. There is a romance thread for M2 with Geeta (Samantha), also related to the ‘enemy’ family. Samantha got a really cute introduction song and dance and then all she had to do was make puppy eyes at M2 for the rest of the film. M1 and M2 fall out over Samantha as M1 is peeved at his little brother canoodling with the ‘enemy’. Much emo brooding ensues – a whole song montage worth – and neither considers compromise or conversation. They’d rather feel hard done by and betrayed.

I thought the first hour or so was just establishing the scene and people, and there would be some plot or character development. No. It is all ‘slice of life’ and watching these two sooky boys. In what is supposed to be the dramatic high point, things are eventually patched up but really – who cares? Two brats decide they’re on speaking terms again. Hurrah.

seethamma-vakitlo-sirimalle-chettu-not sulking

I really like both Mahesh and Venkatesh and they are very accomplished actors. I liked watching them together (especially when they weren’t sulking) and I enjoyed some of their scenes at home with the family. Mahesh fans will enjoy the occasional wardrobe malfunction that resulted when his modesty singlet rode up exposing the princely tummy.

Had there been a more engaging or credible story I might have been more sympathetic. The interview panel at GOOGLE asked M2 why he couldn’t smile from the heart – so he had a hissy fit and walked out. Who thinks that was a good idea? And who believes that is a legitimate interview question? M2 had a nice relationship with his grandmother, very playful and annoying, but loving. Why not set that conversation with his gran, not via product placement? M1 was very half-hearted in getting a new job. Why not show him as someone who lost their job through redundancy or something so we could empathise with his bitterness, rather than him just being a temperamental diva? Why not show him having to learn and grow like a real person? Why not show a threat to the family home or something that might compel the boys to get over themselves? Anything! In an action mass type film it doesn’t matter as much whether the hero is likeable because he exists to deliver victory and he does what it takes to win. In a character piece where there is no mitigating threat or transformative incident, there is nothing to dilute the boorishness.

Seethamma Vakitlo Sirimalle Chettu AnjaliSeethamma Vakitlo Sirimalle Chettu Samantha

The supporting actresses (including Jayasudha as the long suffering Ma) were good, all of them creating distinct characters and often funny. I would have liked to see more of them.

I liked the songs (by Mickey J Meyer) but in a film with little plot, more spectacle could have stopped me checking my watch. They could have included more big set pieces instead of wasting a good cast on montage after montage. Venkatesh and Anjali got the better of the duets in terms of choreography while Mahesh and Samantha scored the fancy foreign location. I suppose that (and splitting the heroic rescue 50/50) is how you keep two big name heroes happy.

The audience lapped it all up. The ladies seemed to laugh more at the family scenes, while the boys clearly thought these guys were legends. Normally after such a dialogue heavy film I would be keen to get the DVD and see what I missed. But I don’t think there is anything to gain from the aggravation of knowing exactly how objectionable they were. Oh this could have been so much better. Watch the songs and enjoy the pretty, but avoid the tedious glorification of the manchild!