Sivudu Sivudu Sivudu (1983)

Sivudu Sivudu Sivudu VCD cover

I really should stop buying unsubtitled dollar VCDs just because of the cover. But not yet. It’s hard to reconcile the masala excesses of Sivudu Sivudu Sivudu with Khaidi and Sangharshana which were made in the same year. Chiranjeevi is truly a versatile hero! A Kodandarami Reddy directs with his usual ‘nothing succeeds like excess’ flair.

The silly story reminded me of why I have such a soft spot for Telugu films. Their commitment to delivering a comeuppance is reassuring and reliable, and something the real world sadly lacks.  The VCD quality is poor. It was like watching a movie from the back row in an antiquated cinema while sitting next to someone snacking on cellophane wrapped treats. Among many visual delights, the costume department did their utmost to make an impression with their new discovery – the ruffle.

The film opens with Kongara Jaggaiah holding a baby and running from a gang of horsemen. He leaves the infant near a priest, who manages to carry on praying oblivious to the running man and pursuing horses. With the usual filmi total lack of surprise at finding an unattended child, the kindly man raised the baby as his own son. There were two babies in the original shot and the fate of the other child is revealed in due course. The baddies catch up with their prey and he is trampled severely by the horses and left for dead.

Sivudu Sivudu Sivudu_Siva and the kidsSivudu Sivudu Sivudu_Chiru and monkey

The baby grows up to be Siva (Chiranjeevi). He is a simpleton, spending his days herding sheep, hanging out with his monkey and the village kids. Siva wears very snug fitting clothes – perhaps to show he is an overgrown child or perhaps a precursor to Chiru’s lycra era. He is easily bossed around and has little motivation to grow up or be more independent. Chiranjeevi and the monkey seem to get along well. I think Chiru permanently had a handful of snacks for his tiny co-star and the monkey noshes away happily in most of their scenes.

Sivudu Sivudu Sivudu_Gauri and SivaSivudu Sivudu Sivudu_Gauri

Gauri (Radhika) seems to be the only other person of Siva’s age so they are clearly meant to be together. Gauri is bubbly, smart, opinionated and protective. She makes her feelings clear but Siva is a bit slow on the uptake. He eventually declares his intentions and Gauri thinks her life is set.

Sivudu Sivudu Sivudu_KingSivudu Sivudu Sivudu_Overseer and dodgy son

The king (Gollapudi Maruthi Rao) lives in luxury and adheres to traditional excess and appalling interior design. His manager, Rao Gopal Rao, is a nasty piece of work. He and his dodgy son extort money from the peasant workers. Gauri opposes him and tries to rally the people in an uprising. They eventually kill her along with half the village, and kidnap the survivors to work as slaves. The detention facility is one of those totally secret in plain sight kind of places and I doubt the design was all that functional. Anyway.

Sivudu Sivudu Sivudu_looking for justiceSivudu Sivudu Sivudu_princess

When Siva sees the corpses and carnage he is traumatised. He goes to the king to appeal for justice. There he sees Malli (Radhika in a dual role), the king’s class conscious spoilt brat daughter.

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Mistaking her for Gauri, Siva allows Malli to bully and torment him before he realises that this stony hearted witch is not his lost love. It doesn’t happen on screen but I think she killed his monkey. How could you think it’s OK to kill a tiny monkey in a pink dress? Siva retaliates clumsily, and is on his way to the open air jail when he manages to fall hundreds of feet to a safe landing on some rocks.

He finds his way to a guru (Kongara Jaggaiah again) and his shrine to Shiva (with affiliated vengeful dude training facility). In a Sholay-ish touch, the guru’s arms dangle uselessly by his side and he is wrapped in a shawl to hide his crippled limbs. There is a flashback explaining his relationship with the overseer and what happened back in the day. He preaches the power of concentration, meditation and preparation as a means to overcome a foe. Presumably he is also of the school of ‘one swift kick’.

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After a training montage which includes a snippet of learning to dance, Siva graduates to wearing fringed pleather and heads off to seek revenge.

Once again I found myself appreciating how Chiru totally commits to his performances. He may be wearing fluoro bike shorts and not much else but he dances with energy and forcefulness as he prepares to go epic.

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While out on a hunting trip, Malli is left to fend for herself when a tiger menaces the group. Chiru to the rescue! Calling himself Vijay, he joins Malli’s staff as a bodyguard (after a death match competency test) and the ruffled shirt department go into overdrive.

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Is it any surprise that Malli finds him alluring and irresistible? Radhika and Chiranjeevi do have nice chemistry although this in no way approaches their performances in Aaradhana a few years later.

I like the faux flamenco prancing in that song although Chakravarty’s music and the choreography are uninspired. The bouffy mullet is not Chiru’s best hairstyle but it does set off the matching headbands nicely. And yes, dear reader, he is in stylish mega-boots.

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The overseer and his son favour shiny shirts, and Malli likes a frill or ten so there is something for everyone.

Siva/Vijay tells Malli’s servant that her husband is alive but to keep up the appearance of widowhood until the plan comes to fruition. The servant is also Malli’s real mother, something that eventually comes as a shock to the girl obsessed with her pure blueblood heritage.  Siva shows her paintings he made of his lost love Gauri, and his monkey, and Malli seems to understand his torment and apologises. I think. (Which is nice seeing as she is partly responsible for his loss.) While I am sure Siva and Malli are not siblings, I am not sure if Siva was the rightful heir to anything or was just a lost boy.

Love blooms, revenge ferments and eventually there is a showdown at the secret jail. And there the film really surprised me. I…words fail me.

Sivudu Sivudu Sivudu_henchmenSivudu Sivudu Sivudu_good v evil

There might be some folkloric element to the basic story but I am not sure what inspired these guys.

But good will triumph and evil will be overthrown.

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And yet again, a surprise as Chiru ripped the intestines out of one villainous henchman using only his bare hands and the righteous power of Shiva. Ah filmi justice – extreme yet reassuringly final. And if you have faith, or maybe unshakable self-confidence, everything will come right in the end. Even if your arms are painted on.

This is far from being a good film but it was mightily entertaining. 2 ½ stars for quality, 4 for astonishing outfits!

 

 

Sivudu Sivudu Sivudu_those costumes again

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Kirathakudu (1986)

If Kirathakudu didn’t have Chiru and Suhasini in the leads I am not sure I would have persisted. The first hour or so is very trying indeed. But then I would have missed out on an unexpected reworking of John Carpenter’s 1981 classic, “Escape From New York”. If I see Chiru plus subtitles, the DVD is an automatic purchase so I didn’t read anything about the film before I watched it. There is a voiceover about criminals and the government, but the concept wasn’t well translated in the subtitles. Imagine my delighted confusion when it started to seem somewhat familiar.

Chiranjeevi is Charan, a poor rich boy who just wants his father (Kongara Jaggaiah) to show him some affection. Charan spends his time winning every possible sporting and aeronautical trophy, beating people up, carousing and brooding in his room.

I enjoyed this sporting montage greatly, although it has prompted me to make a statement critical of Chiranjeevi.

His swimming style is splashy and inefficient and he would not have won a race against the under 9s in my swimming club. There – I’ve said it.

Maybe it’s not about winning the race, but about looking stylish on a lilo.

And making bad art.

He is a renaissance man, albeit one with questionable taste, a very bad temper and poor impulse control. He drinks heavily, and I think I was supposed to find this appearance a warning – but he looks so good!

Charan sees a quite unimpressive statue in a local emporium and runs afoul of Swetha (Suhasini) who has purchased the one of a kind piece. His reaction to finding out he can’t have it is extreme.

Swetha is a psychology student, and daughter of the local police chief. She is smart, self assured and is not intimidated by Charan. She is also a raging narcissist from the looks of her house – pictures of her adorn almost every wall.

It is interesting that Swetha is given career aspirations and a brain, and yet the dialogues are often very disparaging of women. Suhasini is such a graceful and intelligent actress that I was pleased to see her in a reasonably involved role. She is drawn to Charan both as an interesting psychological study and because he is Chiru – those eyes!

Charan goes off the rails due to the influence of vampy Hamsa (Silk Smitha). Only Chiru could make Charan watchable as he broods, rants and sooks over why his daddy doesn’t love him and then commits crimes as a cry for attention.  Showing that she is smarter than most people in the film, Swetha finds Charan’s hideout and dobs him in to the police. He kidnaps her in a dramatic getaway and their forced proximity accelerates the already budding love.

Having been ruined by a tramp, he feels that the love of a good woman will let him live like a decent person. Yes. Surely it would be unreasonable to expect him to take responsibility or just grow up. She then takes on the burden of reforming Charan and settles in for a lifetime of prison visits. I found their song fantasies quite amusing – Swetha was all flowers and pretty colours, while Charan was much more, um, hands on. One thing they did have in common was their terrible taste in art.

Silk Smitha is Hamsa.

Well, Silk’s arse does most of the work thanks to the constant upskirting camera, but she sneaks the rest of herself into shot occasionally. Hamsa is a Bad Girl who entraps Charan and forces him to turn smuggler (bad) and wear pleather (not so bad). Again, I had to growl a bit at Charan crawling out of her bed the morning after and treating Hamsa like dirt for giving him what he wanted.

Mothers in the film are sacred but women who have sex are evil  – so I wondered briefly about how these idiots thought babies were made. I am not exactly sure why sleeping with Hamsa would be enough to place Charan under Snake’s control, especially given his cavalier attitude to the law and society, but it seems he was besmirched and that was it. The bad girl is usually a thankless role, but Silk gets a few pithy lines and an excellent confrontational cheerleading dance.

The second half of the film took a sharp turn towards awesome. Maybe because Chiru changed into this outfit?

The police need Charan’s help to take on Snake and rescue his dad (and the Top Secret papers) as they could not get into the badlands themselves. When Charan stole a car ferry and chuffed off about 10 seconds ahead of the cops, he managed to hide the ferry within walking distance of a sari shop and judging by the number of Swetha’s outfit changes, remain undetected for days. The man is a genius and I can see why the police appealed to him.

Armed with an array of gadgets and with deadly time release microcapsules implanted in his neck, Charan sets off to save the day. He lands a glider on top of a skyscraper in the crime quadrant, on a mission to rescue his father and protect Indian national security. He had to take a glider as there was no way in by land. In a puzzling development, Swetha and Baby (the cab driver played by Nutan Prasad) decide they have to follow him, and drive in through the front gate in a taxi, sedately avoiding the bombs planted along the route. While the residents look like a left over mob from a B grade post apocalypse horror movie, Swetha is able to glide around in her pristine sari without being spotted. The scenes in this second half are more closely aligned to the original film and the mood is both darker and more absurd.

Snake (Kannada Prabhakar) is the kingpin in the sealed off criminal zone. While John Carpenter recreated Manhattan as his prison colony, Snake has to make do with a warehouse complex a few minutes from the downtown area. He has possibly the best DIY lair and henchmen I’ve seen to date, and I enjoyed deciphering the very random graffiti.

Snake is also a psycho killer on a very short fuse.

This guy is quite fascinating.

He plays his role of chief henchman with a blend of odd chicken inspired noises and statue postures, and walks with what I can only describe as a slow-mo mince. While wearing a dress (maybe toga).Who is he?

And the guy who would have been played by Bob Christo in a Hindi version of this is back! Last seen in Adavi Donga (the apple peeler Wolverine claws guy) here he is sporting a fake scar and some hideous trousers.

How does it end? Is there any doubt?

It’s a film by A Kodandarami Reddy so I expected crazy, and the second half delivers. I did have to chant the ‘it was made in 1985’ mantra a few times, but even allowing for that I was irritated by some of the dialogue relating to women and their evil powers. Grow up guys! Yandamoori Veerendranath gets a writing credit, but this is a reasonably faithful remake with the addition of loads of sentiment and a message about good family values.

Chiru and Suhasini inject a bit of class into their scenes, and the WTFery dial is set to 11. I’m totally biased due to Chiranjeevi but I’d give this a cautious 3 stars, for the curiosity value of the remake and for the dystopian second half.

Here is a snippet of Silk’s big song number – it is interspersed with the final action sequence so I won’t give away all the surprises!

Adavi Donga

Adavi Donga is difficult to really capture in mere words. As I watched it, I kept wondering if Chiranjeevi was already the Megastar, because this is not the kind of film that I imagine would really enhance an actor’s reputation. This was an adventure without subtitles, but the visuals speak volumes. My  copy is a dodgy quality VCD so my images will not do it justice, but I have sourced some short clips to help bring Adavi Donga to life. No dear reader, don’t thank me yet!

Sharada, always so elegant and striking, is Vasundhara. She opposes the local bad guy, animal poacher and underpayer of vegetable growers, Rao Gopal Rao, and his idiot son.

He is slimey and not always just in the comedic manner you might expect from the wigs.

Look at what happened to the last person who crossed him! And consider the well appointed lair and excellent lighting effects. He also has a gang of brightly attired poachers, and Allu Ramalingaiah as a shady advisor and factotum.

Rao Gopal Rao frames Vasundhara’s husband for murder, and at the dramatic height of that incident, she stashes her recently tattooed infant son in the forest fully intending to come back when it is safe.  Unfortunately for her, the lad is discovered and adopted by an elephant and taken into the jungle.

I was delighted to find that the jungle was populated by lots of exciting animals like tigers, lion cubs, monkeys, antelope, peacocks and… fluffy white bunnies.

Some things made me question where the rabbits fit into the food chain. They had no protective camouflage or colouring – Stupidity or fearlessness? Were they just a convenient snack for local carnivores or something more sinister?

Sharada is left alone and angry. Vasundhara is a strong woman with a vengeful streak tempered by her principles. Her policeman brother, played by Kongara Jaggaiah, refuses to believe that her husband is innocent and doesn’t seem too fussed about the lost baby. Of course the boy grows up to become Chiranjeevi, a Tarzan character with a wardrobe comprising several loincloths and an array of matching sandals, who lives completely unnoticed in the not very distant jungle.

Radha has some strange ideas about jungle appropriate attire, although I guess pleather would be fairly hardy as fabrics go.

The poacher gang try to kidnap her, possibly in an attempt to force her to marry the idiot son. But Chiru cannot resist the piercing shriek of a maiden in distress and comes to her aid. She flees, leaving her cassette recorder behind. And that changes everything. I liked that the elephant mother seems appalled to find her human child dancing to some random disco rubbish. Sadly the damage has been done and Chiru goes in search of the pretty lady. This choice leads him into a world of floral curtains and scary reflections.

Radha certainly liked what she saw. The yodelling over Chiru’s arrival in this song is quite marvellous. Someone took their Tarzan tribute seriously.

Radha staged another incident to attract Chiru’s attention. She didn’t count on being chased into the jaws of a crocodile by a lethargic tiger, and of course Chiru arrives in the nick of time having been alerted by her robust screaming. I do like a good crocodile wrestling scene! He takes her to his treehouse and she seems to recover quite quickly considering her leg had been gnawed half off. But why didn’t Radha seem to notice the rabbits hopping all around her?

Chiru’s treehouse had an elephant operated elevator which at first surprised me – I mean, Tarzan needing a lift? How many city gals did he bring home? But then I realised the lift was possibly for the benefit of the bunnies who were sharing the penthouse treehouse with Chiru. Did the elephants have their own interpretation of bunny rug? What was their purpose? How on earth did the rabbits persuade so many creatures to do their bidding? Why do I care ?

Chiranjeevi’s idea of flirting with Radha is amusing rather than smouldering. He steals her bra, covers himself in a leopard skin and crawls around growling, gets his monkey to take a Polaroid of Radha while she is changing clothes and generally behaves like a hormonal teenager.

The romance between Chiru and Radha draws the attention of Rao Gopal Rao. His machinations place Chiru in danger, which allows for some excellent vine-swinging, and the elephants intervene to go find Sharada and reintroduce her to her son. Quite why it took so many years to do this is not clear, but maybe they just weren’t ready for him to leave home. It took Radha, resplendent in pleather pedal pushers, to reunite the family with a clever visual demonstration of the parent child relationship.

They quickly adjusted to this new family dynamic and the elephants helped Sharada break Chiru out of police custody. She is a very resourceful woman.

After a bit of divine intervention and maternal coaching, Chiru becomes Kalidasu. He starts wearing suits and accessorising with scarves. He also quickly develops an amazing mastery of rhetoric. Sharada imbues him with her own strong principles and he is the perfect son.

She is still crusading against the poaching and other villainous goings on. I liked the villains lair, apparently accessible only via secret rail tunnel, or the truck loading bay. Despite all the secrecy, Sharada and the local ‘tribe’ seem to be able to wander in as they please.

Naturally the bad guys refuse to be warned off by Sharada or by Chiru. He is outraged at seeing his former jungle friends sold for skins and tusks, although he was no tree-hugging conservationist  in his previous jungle existence. An assassin is sent to kill him. This role, if not the outfit, would have been perfect for Bob Christo. Please pay particular attention to the Wolverine style claws made from apple peelers.

 

 

 

 

 

 

 

 

 

 

 

 

Other pleasing details include the abundance of  fake ‘taxidermy’ in the villain’s house. What were they thinking?

The commitment to that theme continues into a song.

The songs (music by Chakravarthy) are kind of fabulous and completely excruciating.

The final showdown takes place in the villain’s lair and poor Chiru is faced with a terrible dilemma. Rescue his recently freed father from this?

Or save his mother from this?

And how to help anyone when he is trapped? And with evil henchmen tearing his clothes off?!? Oh the humanity!

Director K Raghavendra Rao wraps things up neatly, if not terribly sensibly, and there is excellent utilisation of the elephants. There is so much fabulous wardrobe, a ridiculous plot that merrily disregards any inconvenient logic, and very appealing performances by Chiranjeevi and Sharada. A must see for Tarzan fans, Chiru fans, rabbit fans and anyone who ever wanted to know which sandals go best with a loincloth. While not a great film, this is So Bad It’s Really Very Good.  3 stars!

Chantabbai

I was initially reluctant to watch a film billed as a comedy even with Chiru in the lead. But then I discovered Chantabbai was based on Blake Edward’s classic ‘A Shot In The Dark’ which I like, and not only does it star Chiru but also the lovely Suhasini. Then the ever helpful KB told me Chiru frocked up for a song and I was sold. And to top it all off, my favourite ebay seller BoomBox India found me a DVD with subtitles. So I would have been reasonably happy even if this was not brilliant, but guess what? It’s great fun!

It starts with cartoon titles:

Not all of them entirely suitable for children:

And more credits are painted on roads, buildings etc.  It’s a fun way to begin.

I always liked the slightly mad glitter in Peter Sellers’ eye when he played Clouseau and while that edge is missing in Jandhyala’s film there is a likeable eccentricity about the characters. Chiru’s portrayal of K Panduranga Rao a.k.a Pond…James Pond is sweet rather than insane. The subtitle team seemed to miss the mark, but perhaps they were just trying to add their own comic contribution to the often convoluted dialogue. What Chiranjeevi says is “Call me Pond…James Pond”:

Pandu is quite endearing and where Clouseau was a loner, Pandu is more of a people person. He has associates, including the omnipresent photographer sidekick Ganpathi (Suthi Velu),  he likes a girl, and of course he has his loyal servant. I always loved the scenes where Burt Kwouk as Kato would attack Clouseau and I cannot believe someone persuaded Allu Aravind to take up that role (IMDB insist it is indeed him) – and he is fantastic! I always think of him as the serious looking producer, but clearly he inherited the family comedy gene.

Suhasini is Jwala, a telephone hygienist and the object of Pandu’s affections…if she would ever shut up long enough for him to tell her.

She lives with her father (Allu Ramalingaiah) and seems to like her life and have good friends. She’s a happy girl with a bright smile and wonderfully expressive face.

Jwala is implicated in a murder and diamond theft, and PI Pandu takes her case.  The solution is arrived at via many sophisticated methods.

Chiru and Suhasini make such a nice screen couple and I greatly enjoyed seeing them in this lively romp. And you know, it leads to this lovely song which features Chiru in a pair of shoes recently discussed on this blog:

Chiru is lots of fun as the clumsy and sweet natured Pandu , obsessed with James Bond and determined to be a success.  I like his office and home decorations.

People are driven mad by James Pond and his schemes and theories that all seem to work out somehow.  They still help when he needs them, and the police do what he asks which may be a reflection on them rather than on Pond now I think of it. Bheema Raju as the police inspector looks as though he can barely keep a straight face in some scenes, and it adds to the jolly feel of the comedy. Chiru has a really nice rapport with the kids in his scenes with them, and Pandu is clearly regarded with great affection. This lacks the slightly manic edge of an Inspector Clouseau film – it’s just so nice. I mean, this is his idea of a stinging retort when he is being stood up:

Which requires a comedy song with Chiru as Chaplin! More shoes! And a tongue in cheek tribute to some of his earlier films including Khaidi.

While solving the murder, Pandu is also hired to find Jwala’s friend Dr. Nischilla’s long lost brother from her father Kongara Jaggaiah’s first relationship. There is a nice Egyptian theme to the artwork in Nischilla’s home and many people claim to be the lost Chantabbai, possibly because of the decor.

You may already have guessed who that brother turns out to be.

The discovery allows for a serious scene by Chiru as Pandu reveals how traumatised he was by being orphaned at a young age. There is a clear message about the need for people to support and help those in need and while it suited the theme of the story, the energy was suddenly a lot heavier. I found this scene surprising for the anger he expressed (briefly) in what is otherwise an amusing and lightweight film. There is also a subplot about a failed relationship of Nischilla’s which was also quite serious in tone although depicted in a stylised way. So maybe this is intended as the grown-up component of the family entertainment.

Even in a comedy film, there is apparently room for a comedy sideplot or two.  Sri Laxmi is wonderful as a would be poet who forces the newspaper editor to publish her work and try out her bizarre cooking experiments.  There is also a comedy kidnapping which is memorable for the kidnappers excellent sense of occasion:

Underneath the comedy there’s actually a well structured story that kept my attention from start to finish. The cast do a great job and are very entertaining, especially Suhasini and Chiranjeevi. Everyone looks like they had fun playing out their antics and really got into the spirit of the film. K. Chakravarthy’s soundtrack is pleasant and the songs were well placed, although they were a bit light on for dancing. If you want a slightly offbeat slapstick comedy with loads of charm I think this is a good choice. 3 1/2 stars!