Manam (2014)

Manam

Manam is a beautiful film and a breath of fresh air in an industry usually dominated by beat-‘em-up heroes and the same old innuendo masquerading as comedy.  Featuring three generations of the Akkineni family and Nageswara Rao’s final screen appearance, it could very easily have tipped into trite sentimentality, but Vikram Kumar’s screenplay keeps the film on track with an novel storyline, sweet romances and genuinely funny comedy.  I have to admit that I almost didn’t buy a ticket when I read that Manam was being advertised as a comedy, since without subtitles most of the humour tends to pass me by (even with subtitles in some cases!) but Manam would have been a watchable and entertaining film even without subs.  As it was, being able to understand the jokes and laugh at the same time as the rest of the audience was excellent.  Long may this trend for subtitled Telugu films continue in Melbourne!

Manam Manam

The film starts in the 1980’s with the unhappy marriage of Radha (Naga Chaitanya) and Krishna (Samantha) who bicker and fight even on the occasion of their son’s sixth birthday.  The very next day they are both killed in a car accident, leaving the young Bittu an orphan and his wish to see them happy together unfulfilled.  This doesn’t seem to have held Bittu back however, as the film moves to the present day, and the now grownup Nageshwar Rao (Nagarjuna) is in Mumbai to receive the Businessman of the Year award.  However, on the flight back to Hyderabad, Nageshwar is seated beside a young man who is the image of his late father, and this begins his crusade to bring his ‘parents’ back together again.  Nagarjuna is absolutely perfect here and his child-like wonder at discovering ‘his father’ is brilliantly portrayed.  The scene is well written too, with the just the right amount of comedy to keep it from cloying sentimentality and Vikram Kumar even manages to make the suggestion of such an occurrence seem perfectly plausible.

Samantha and ChaitanyaManamNageshwar reasons that if his father has been reborn, then his mother must be around somewhere too, and to this end he scours the streets of Hyderabad until he tracks down Priya (Samantha) who is the image of his mother and, luckily for Nageshwar and his plans, she immediately feels a connection.  Again Nagarjuna’s determined search is neatly summarised in just a few shots and the obvious unlikely coincidences feel much less contrived than expected.  It help that both Nageshwar and Priya are very likeable characters and Nagarjuna and Samantha ensure their interactions are full of genuine warmth and respect.

ManamNagarjuna

Having found his re-incarnated father and mother, Nageshwar has to find a way to re-ignite their romance.  In the midst of his attempts to bring about true love, Nageshwar finds love himself when Anjali (Shriya) commandeers his car to carry a sick man to hospital.  As it turns out, the older man is Chaitanya (Akkineni Nageswara Rao) who has seen his parents Seetharamudu and Ramalakshmi  reborn as Nageshwar and Anjali.  It’s then his turn to explain the past and try to reunite the lost lovers.

Manam

ANR is the absolute star of the show, and seems to take great delight in playing the octogenarian matchmaker.  He is mesmerising every time he appears, and his facial expressions and reactions to every other character are superb.  For his part, Nagarjuna is quietly competent as Nageshwar Rao with a subtle but effective performance, and his romance with Ramalakshmi in the second half is an absolute delight to watch.  There seems to be something in Temple’s theory that Shriya Saran’s irritation factor is related to the length of her hair, as here she has long hair and is actually pretty good.  Shriya looks beautiful and displays an engaging personality as a 1920’s traditional villager, and she is just as stunning as the cool and efficient Dr Anjali.  I vote Shriya always has long hair in her movies!

Manam

Nagarjuna and Shriya also share good chemistry together, which is sadly conspicuously absent in the romance between Samantha and Chaitanya, although to be fair the script really doesn’t ever let them develop much sparkage except in the way of confrontation.  Despite the lack of passion with Chaitanya, Samantha shines as Priya / Krishna.  She sparkles in her songs, and is full of bubbly enthusiasm as she meets Nageshwara, but her pain at her perceived husband’s betrayal is obvious as is her contempt of Chaitanya’s Nagarjuna.  Chaitanya is also better than usual, although that may be because his role mainly requires him to play a drunk and obnoxious college student which he seems to fit well.  The usual suspects pop up as various mothers, fathers, cousins etc, but do watch out for the brief cameo appearance of Amitabh Bachchan which garnered plenty of cheers from the audience.

Manam

It’s not all perfect though – the inclusion of Ali as a dance teacher is unnecessary and M.S. Narayana’s role is too obvious and crude to fit with the rest of the characterisation.  However Brahmi is good as Nagashwara’s assistant and without any misogynistic humour, he manages a restrained performance that proves he can act perfectly well when required.

Manam benefits from a sweet and  simple telling of a relatively convoluted story.  There are no exciting car chases, no big fight scenes and no cliff-hangers (even though the last few minutes attempt to raise the dramatic tension), but overall it’s an entertaining and watchable film.  All praise must go to Akkineni Nageswara Rao and Nagarjuna for their exemplary performances, but the younger generation hold their own, with even Chaitanya showing that he learnt something from the rest of his family while on set.  Definitely recommended viewing and a last performance to savour from one of the legends of Telugu cinema.

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.

Ramayya VasthavayyaRamayya VasthavayyaRamayya Vasthavayya

                                                                             

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.  

 Ramayya VasthavayyaRamayya Vasthavayya

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.

Ramayya VasthavayyaRamayya Vasthavayya

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.

Baadshah (2013)

Baadshah

Time for another adventure without subtitles – this time the latest Jr NTR release Baadshah.  There was a surprising new innovation at the cinema too – the addition of a queuing system! No free-for-all crush to get in and grab a seat!  This meant less conversation outside, but more time for discussions inside as it took quite a while for the trickle of people to slowly fill up the cinema.  Needless to say there were still plenty of chants and cheers (and a lot of seat swapping) as the cinema was full for the first night show.

Not understanding Telugu turned out to be not too much of a problem this time since Baadshah closely resembles director Srinu Vaitla’s last venture, Dookudu – even including a similar convoluted scam as the comedy track.  Despite the air of déjà vu, there was still plenty to enjoy with well-choreographed action scenes, awesome dancing from Tarak and (judging from the audience response anyway) some entertaining dialogue.

Baadshah

The film opens with a voice-over from Mahesh Babu, who is the first of a number of guest artists to appear in the film, although there is a large and impressive support cast too.   Tarak is Baadshah, the son of gangster Ranjan (Mukesh Rishi) who successfully runs a casino in Macau.  Ranjan works for international crime lord Sadhu Bhai (Kelly Dorji) and the first half sets up the inevitable struggle between young upstart Baadshah and the established boss.  Sadhu Bhai does have a rather swish Asian inspired lair, with a very shiny black table but otherwise Kelly Dorji’s villain is fairly routine.  I do wish he would cut his hair though – it’s too wispy to be effective as an evil crime lord look!  Sadhu Bhai has the assistance of Crazy Robert (Ashish Vidardhi) and Violent Victor (Pradeep Rawal) who both do their best to eliminate Baadshah and his father which keeps the body count relatively high in the first half.  There is also some painfully bad violin playing, which even Kajal attempts to my horror!

Baadshah

Baadshaah ends up in Milan in time for the first excellent dance number, and this gives him the opportunity to meet Janaki (Kajal Agarwal).  After the usual misunderstandings – she thinks he’s trying to commit suicide while he fails to mention any of his gangster affiliations – the two get together for a romantic song in the snow.  This would have been much better without the addition of some dreadful female backing dancers who looked out of place and uncomfortable wearing jeans under their saris and clomping around in Ugg boots while sliding around in the snow.  They did make Kajal look like a professional dancer in comparison though, so perhaps that was the whole point?

Baadshah

Janaki just happens to be the daughter of the Commissioner of Police Jai Krishna Simha (Nasser) and once back in Hyderabad is supposed to be getting married to another police officer Aadi (Navadeep).  I’m not sure if Navadeep was trying to portray angry and forceful for his character here, but he didn’t make it past mildly petulant and mainly just looked as if he had smelt something bad.  Siddharth on the other hand puts in a good performance in his brief guest appearance as Baadshah’s brother.  By the start of the second half, not only does Baadshah have to deal with the threat of Sadhu Bhai and his evil plans to blow up most of India, but he also has to get rid of Aadi and deal with the police if he wants to get the girl.

Baadshah

While the comedy in the first half comes from M. S. Narayana as a spoof film director, Brahmi appears in the second half and his character Padmanabha Simha takes over the comedy proceedings, and most of the action as well. Although the humour was mainly dialogue based there was plenty that made me laugh even as a non-Telugu speaker.  The audience loved it judging by the response, but the biggest cheer of the night went to a dance by Janaki’s female relatives at the Sangeet ceremony.

Baadshah

The film depends heavily on Tarak’s screen presence and thankfully he delivers on every scene, whether it’s action, comedy or in the dance sequences, although he is somewhat side-lined by Brahmi in the second half.  It was great to see some better choreography, without so much emphasis on ‘trick’ steps, although the item numbers weren’t up to the same level.

Kajal is good as Janaki, but she looks almost subdued in a number of sensible outfits and I thought her make-up made her look tired.  However she did seem to get some good dialogue, and at least she had a meatier role than usual for a ‘love interest’ character.  The support actors in general were reprising roles they have done many times in the past although most didn’t have a lot to do.  I was delighted to see Ajay back on screen as a gang member, even if only for a short time!

Baadshah

Baadshah follows a predictable path, but it’s entertaining with plenty of variety and it’s not quite as gore-soaked as Dhammu or Oosaravelli.  I loved the action sequences and Tarak’s dancing was an absolute stand-out in the first half, but for me the second half dragged due to the more dialogue driven comedy scenes.  The film could also have done without two item numbers, neither of which were particularly impressive. But overall this was a fun film to watch and I’m looking forward to the DVD where I can work out all those references to old NTR films.

Naayak

Naayak Poster

Naayak is an updated masala potboiler, action packed with colourful dance numbers and an improbable but entertaining enough story. The audience last night was mostly young couples and families. I did wonder yet again at the ability of children to sleep through anything. At the end of the film the dads left with a kid slung over one shoulder, dead to the world.

To summarise the story, with mild spoilers:

Naayak opens with four men being pursued through the streets and lanes of Kolkata, and eventually tied to a pillar in the forecourt of an ornate manor. Surrounded by approximately 4962 taxis with their headlights on, the men look doomed. But a mysterious figures glides through the darkness, and rescues them in a bloody fight involving lots of pointy objects and ornate axes. Who was he and why were they in trouble? That comes later. Charan is Charan AKA Cherry, a Hyderabadi IT dude. Through some Brahmi induced comedy complications, he meets the gangster Babji (Rahul Dev) and his pretty sister Madhu (Kajal). In the background, Cherry appears to be on a killing spree from Kolkata to Hyderabad. Babji sees Cherry shoot a senior police officer and starts asking questions about who Cherry really is. At the same time the police, led by Ashish Vidyarthi, are closing in. A trip to Haridwar and a chance encounter with a lookalike prompts a long flashback introducing Siddharth (Charan). Siddharth is on a mission of revenge following Pradeep Rawat’s criminal (and insane) treatment of workers in his chemical factory (and others). Siddharth has his own love interest in Amala Paul, and a tragic back story. To quote nearly every Telugu film reviewer ever, ‘how the hero triumphs over the villain forms the rest of the story’.

charan nayak

Charan has matured as an actor and his dialogue delivery has more authority. Perhaps that is because he seems really comfortable in the mass entertainer roles, and he certainly gets the style. Naayak is an updated version of the kind of films Chiranjeevi is known for. Action, dancing, flamboyant costumes, a dash of romance and a social message all add up to a good showcase for the young star. The fights are very stylised and rely on not always seamless wirework and effects. Sometimes the clunky visuals took away from the drama. Charan seems comfortable with the physicality of the fight scenes so he doesn’t let his characterisation lapse and that does help. There were few differences apparent between Cherry and Siddharth – Siddharth’s hair was a bit higher and his necklines a tad lower. But as the story turns on their similarity, that all worked nicely.

Charan’s dancing was such a highlight, especially in the very Chiru-ish Laaila O Laaila which I wanted to be replayed again right away, and Naayak which is just so pretty and colourful.

Naayak Kajal in gold pants

Kajal was very likeable. Madhu is more ‘girl next door in glamourous dress-ups’ than total glamour doll, and she often had a cheeky glint in her eye. The costume designers were reasonably kind to her, with only a brief foray into shiny metallic pants. She cannot dance to save her life, so the choreographers wisely decided to go for stunning locations plus giving Charan all the actual steps and telling Kajal to either shake her butt or heave her chest.

Naayak Charan and Kajal dance

I tell a lie – in one song she had to point one hand skywards and walk, which must have been challenging.

Naayak Kajal and Charan dance

But she looks like she has fun, and she and Charan goofed around flirting rather than worrying so much about the steps.

Amala Paul made little impression apart from looking very pretty. Her role is small but she does get a couple of visually spectacular songs. Unfortunately the costume designers never really considered the implications of dancing with your hair down and wearing a chiffon sari on undulating terrain in Iceland in a stiff breeze so she didn’t always looks graceful.

Charan and Amala dance

Naayak Amala and her shoes

Particularly not as she wore brown Ugg boots  with a green sari and black shoes with bright blue laces with her diaphanous black sari during one song. Kajal wore leggings under her short shorts but apart from being greyish and a bit baggy around the knees, they weren’t as peculiar. I’m all for actresses dressing appropriately for the climate, and for workplace safety, but it was odd.

Rahul Dev is Babji, and he plays a more sympathetic gangster than his usual psycho villain. Indeed, there is quite a sweet bromance developing between him and Cherry until things start to get crazy. Raghu Babu and Jayaprakash Reddy are on comedy duty in his gang and, judging by the audience reaction, knocked it out of the park. MS Narayana is a drunk lip reading expert and his timing and droll expressions are really quite amusing. (As was the misspelled ‘Drinking is injurious to your HEATLH’ warning.) Brahmi has an actual character to play. When he can be dissuaded from just repeating his usual shtick he is so much more bearable. I actually laughed out loud at a couple of his scenes when normally I would be sighing so either I’ve had a head injury or he was good. Dev Gill made an appearance as a psycho baddie with impressive (that’s not the right word but they are very in your face) moobs.

Naayak Charan and Amala

SS Thaman’s music is OK but sounds like every other film. You know, there’s the upbeat hero song, the item (featuring Charmme), the duet, the other duet, the remake of a better song. Nothing wrong with it, but I sit here now and I can picture the sets and the fancy costumes, but can’t recall the music as clearly. One thing I loved in Charmme’s item was Siddharth imaging joining in. His cheesy expressions and Chiru-esque mannerisms were really amusing. That was all his own character’s vision so I liked that glimpse of his inner life.

Despite this being an adventure without subtitles the only thing I feel I really missed was the comedy dialogue. People around me were weeping with laughter and a couple of guys said it is one of the funniest films they’d seen in ages. I’ll be buying the DVD regardless, and am interested to see how well that laugh riot translates. I liked spotting the Pawan Kalyan and Chiranjeevi references in the visuals and dialogues and was pleased to see Shah Rukh smirking from the back of a Significant Magazine.

See it if you like films with clearly defined heroes and villains, action, drama, colour and movement. You’ll need some tolerance for dismemberments, gore and a lot of comedy uncles but it pays off with an explosive climax.

Darling

Darling

My motivation for watching Darling was less in the expectation of experiencing an enthralling story (although I always live in hope) and much more based on being a Prabhas fan – which in hindsight was the right attitude to take.  Although the underlying themes of friendship and father-son relationships are reasonably well dealt with, the romance between the two leads follows a fairly dull and predictable path despite the attempt at a twist at the interval.  However Prabhas and Kajal are both entertaining to watch in spite of the inevitability of the storyline and for a romantic comedy, what it lacks in passion it more than makes up for in the humour.  Especially since for a change, the comedy is part and parcel of the story rather than a separate unfunny and irrelevant track.  Best of all, there is not even a sniff of Ali or Brahmi anywhere in the proceedings. There is plenty of Prabhas instead and really, that’s enough right there to make this a film worth watching!

DarlingDarling

Prabhas is Prabha (why not just stick with Prabhas I wonder?), who is the devoted son of a loving father Hanumanthu (Prabhu).  The film opens with the last day of Hanumanthu’s time at college and the pledge of all the friends to meet up every 5 or 10 years to renew their friendship.  This opening section is all shot in black and white and the lack of colour ensures this section features some of the most conservative and tasteful outfits the men wear for the entire film, despite the fact that it’s set in the eighties.

DarlingDarling

These reunions give the various families a chance to get to know each other too, and a young Prabha is smitten by Vishwanath’s daughter, Nandini.  However before love gets a chance to bloom, Nandini and her family move to Switzerland while Prabha grows up to celebrate his own last day at college with a similarly dedicated group of friends.  Although rather than vowing to meet up every few years, Prabha’s friends seem to be permanently welded to his side since they all come along for Hanumanthu’s latest big college reunion.  They all also play in a band together and seem to share Prabha’s (lack of) fashion sense (the manband!), although perhaps there is a rule that states if you are performing in a band scarves are obligatory.  The first half involves a side trip to Switzerland where amazingly everyone seems to speak Telugu, although given Dharmavarapu Subramanyam’s pronouncements that may not be quite so surprising.

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Prabha is hopeful that a meeting with Nandini will be enough to restart their love story, but there is a minor complication in the form of Nisha (Shradha Das in a very brief cameo) who is in love with Prabha.  Her father (Mukesh Rishi) is a local don and he is determined to ensure that his daughter gets whatever she wants even if that means forcing Prabha at gunpoint to marry his daughter.  Despite his threatening persona, Mukesh Rishi mainly plays his character for laughs and it’s fun to see him in this type of role blending mayhem with merriment and revealing a surprisingly sensitive soul.

While the main feature of the film is the romance between Prabha and Nandini, the relationships between the various older men are actually more interesting and appear more genuine.  Sure they’re cheesy, over-simplified and even a little too dramatic at times, but these moments give the film some much needed warmth.

DarlingDarling Stalwarts including Aahuthi Prasad, Chandra Mohan, Dharmavarapu Subrahmanyam and M. S. Narayana all work together naturally, so that they really do all seem to be old friends catching up over a few glasses of whiskey and a cricket match.  The relationship between Prabha and his father is also nicely portrayed and both Prabhas and Prabhu bring a realistic camaraderie to their interactions.  In fact throughout Prabhas is effortlessly charming despite the succession of ridiculously baggy and shapeless t-shirts he wears.  Nothing seems to fit and he’s much too tall to look anything but scruffy in wide-necked and voluminous shirts – plus the dual layered hats, inexplicable scarves and worn-off-one-shoulder bespangled jacket.

DarlingDarlingDarlingDarling

Prabhas seems to have been lumbered with a stylist that hates him, and in a complete reversal of normal, Kajal is the one who gets to wear much more reasonable outfits.  There are a few misses, after all this is Tollywood where apparently giving someone fairy wings means they are wearing a ‘holy dress’, but overall Kajal looks fantastic.  She also puts in a convincing performance although it would perhaps have made the story a little more interesting if there had been a difference in character between the dream Nadini of the first half, and the real Nandini in the second half.   Kajal throws herself into the dancing, and apart from one bizarre attempt at what I think was supposed to be Bharatanatyam (what were they thinking!!) the choreographer has stuck to her strengths and put her enthusiasm to good use.  There is plenty of hip shaking and arm waving but less actual dancing, so she looks more co-ordinated than usual.  The choreography is a little less successful for Prabhas, but then again I may just have been distracted by those hideous outfits.  This is a beautifully shot song that features the scenery of Switzerland morphing into Hyderabad and also some beautiful CGI scenes of snow, along with some of the better outfits worn by Prabhas.

Added in to the mix is an attempted suicide by Nisha which infuriated me (completely unnecessary), a side story involving Hanumanthu’s adopted father and brother and a rival for Nandini’s affections in the form of Appala Naidu’s son Rishi (Santosh).  There are a limited number of fight scenes but with Peter Hein choreographing, they all look good and generally fit into the flow of the film.  The music by G. V. Prakash is unremarkable but Andrew’s cinematography makes the most of the settings in Switzerland – if only the costumes had matched.

Overall Darling is a film that’s not too taxing to watch and is certainly less gory and more family friendly than the recent Rebel.  Director A. Karunakaran ensures good performances from all but a sharper story would have made for a better film.  Worth it for Prabhas, Kajal and the gang of older actors who looked to be having a great time. 3 stars.