Son of Satyamurthy

Son of Satyamurthy

After their previous success with Julayi, Allu Arjun and Trivikram are back together again with Son of Satyamurthy. The film features appearances from Ali, Brahmi and most of the Telugu film industry stalwarts, but despite the plethora of comedy uncles, it strives for a more serious tone and is a more traditional family drama. Bunny puts in a restrained performance compared to his earlier films, and it appears that Trivikram has concentrated on character development rather than glitzy glamour and full-on action of most Telugu cinema. The storyline has plenty of potential and I loved the inclusion of villains who are not wholly evil but have the capacity for reformation, but there are a few misses. The film is undermined by the inclusion of a few unnecessary characters that reduce the overall impact and at times the sheer number of protagonists threatens to drown the main storyline. However the central theme of a young man determined to stick to his father’s principles stands strong and Bunny does a fantastic job in a more serious role than usual.

S/o Satyamurthy

Prakash Raj is Satyamurthy; a rich man who is happy to lend money to all and sundry without judgement or seemingly any expectation of repayment. He has strong principles and his values have been absorbed by his family even if they don’t always agree with his open-handed policies. And perhaps they had a point, since Satyamurthy’s sudden death reveals a large amount of debt. The family lose their affluent lifestyle and downsize their house, possessions and expectations when Satyamurthy’s son, Viraj Anand (Allu Arjun), refuses to default on the loans and insists on doing the right thing – as his father would have wanted.

In an odd addition, Vennela Kishore plays Viraj’s older brother who is incapacitated by his father’s death, but as his character is played mainly for laughs (which are never very funny and don’t add anything to the story), there doesn’t seem to be any real need for his inclusion. Similarly, Ali appears as Parandhamayya, some sort of assistant to Viraj in his new job, who is another character who could have been omitted without losing too much from the story. I rarely find Ali’s brand of comedy funny but here he is less slapstick than usual and generally rather muted, so while I can’t see much point to his character at least he is tolerable and occasionally amusing.

Although businessman Sambasiva Rao (Rajendra Prasad) blackballs Viraj, a friend helps by giving Viraj a job as a wedding event manager. Viraj is dumped by his own fiancée when loss of his fortune makes him less desirable as a husband, and naturally his first event is the marriage of his ex, Pallavi (Adah Sharma). This makes Viraj deal with his loss of wealth and prestige fairly early on in the film and also reinforces the contrast between his own morals and those of Pallavi’s rich but dishonest father (Rao Ramesh). In classic filmi style, Viraj manages to reconcile the various family members and in the course of events falls in love with one of the wedding guests. M.S. Narayana appears in his final film appearance here, and it is bitter-sweet to see him in one of his classic drunken uncle roles, especially when his role fits well into the storyline.

Bunny’s Viraj is a sensible and responsible young man and he does a great job of making his character principled without becoming preachy or overly moralistic. The only misstep is his tendency to invoke stories of Hindu Gods that sounds a little odd coming from someone who hadn’t previously demonstrated any evidence of a virtuous attitude. It would have made more sense to me if he’d quoted his father instead, but perhaps that is due to my lack of Telugu and reliance on the subtitles which may not have been too accurate – going by the atrocious spelling as a general guide to overall quality!

Subbalakshmi, aka Sameera (Samantha) is the wedding guest that Viraj takes a fancy to, and to her credit she immediately realises that Viraj is a keeper. In a move away from standard filmi heroines, Sameera is introduced holding a drink and a cigarette, and for some reason she is also a diabetic, although there didn’t seem to be any particular point to this other than as a brief comedy scene. I generally like Trivikram’s approach to his heroines, but he seems to lose interest once he moves on to the action and sadly Samantha disappears for much of the second half. However she is excellent in her role and has great onscreen chemistry with Arjun.  The couple look good together in the songs too, which pepper the first half and allow Bunny to demonstrate why he truly is the ‘stylish star’. There is some annoying hair discontinuity, but since the worst bouffy hair only appears in the songs it’s actually no bad thing that Bunny’s hair length is shorter for the rest of the film.

Rajendra Prasad and Upendra are the other standout performers and they both help bring the film to life. Much of the comedy is between Rajendra and Bunny, and is much funnier than the specific comedy threads with Brahmi and Ali. The two bounce lines off each other to good effect and are really much better than any of the assorted comedy uncles who fall flat in comparison. Upendra appears as the villain of the piece, and is as vicious and violent as required (per Telugu standard bad guy guidelines) but shows a different side when dealing with his wife and sister. He’s an interesting character and Upendra is excellent in the role, switching from demonic goggle-eyed evil one moment to concerned husband the next, but with so much else going on his role isn’t developed as much as I would like. Sneha is also very good as his sweet and serene wife, but Nithya Menen seems a little wasted in her role as a rival for Viraj’s affections. That’s a shame too as her character starts off well with an interesting plan of attack but it’s lost in the hodge-podge of action and Brahmi comedy that makes up the rest of the film.

There is a lot going on in Son of Satyamurthy and it does evoke films of yesteryear with the convoluted storyline, sheer number of characters and focus on honour, values and moral principles. The songs from Devi Sri Prasad aren’t too memorable, but they are well choreographed and smoothly flow into the storyline. Bunny dances better than ever and also looks amazing with Peter Hein’s fight choreography. Interestingly the fights aren’t as brutal and violent as usual (there is a hose as a weapon for instance), but the wirework and acrobatics are outstanding and very effective. I really enjoyed Son of Satyamurthy and although it would have benefitted from fewer characters and less formulaic comedy it’s an entertaining story with some excellent performances. Well worth seeing on the big screen to really appreciate Bunny’s dancing if you can.

Aagadu (2014)

Aagadu

After the major disappointment of missing 1-Nenokkadine, it felt as if it had been a very long time since I’d been able to indulge in the wonders of Mahesh on the big screen. As an added bonus Aagadu was being shown in my local cinema, the wonderful single-screened art deco Astor, which has the luxury of a dress circle and velveteen-couches for lounging while waiting to get into the auditorium. Plus the bonus of subtitles!

Going to the Astor is always an ‘experience’ and even more so for Mahesh.  There were massive posters with accompanying garlands, samosas for sale in the foyer, and even that rarest of things – allocated seating! Regular visitors to Telugu film nights in Melbourne will understand what revelation this was – no pushing and shoving to get in and try to find a seat that hasn’t been ‘saved’ by the first twenty people through the doors? Not this time! First night, first show and there was an orderly ticket collection queue, a leisurely stroll to your seat (with ushers!) and plenty of time to soak up the atmosphere with the sell-out crowd.

Aagadu

Aagadu sees Mahesh reunited with Dookudu director Srinu Vaitla, although the partnership doesn’t deliver such an entertaining film this time round.  Along with a number of familiar faces in similar roles, the usual mass themes pop up time and time again, so the plot feels tired even before it gets past the first half hour.  Still, it starts off well enough. Young Shankar is rescued from the streets by Police Inspector Raja Ram (Rajendra Prasad) who adopts him into his household based on Shankar’s non-tolerance approach to crime. Naturally this family relationship doesn’t last long, and Shankar is cast off by Raja Ram in suitably dramatic fashion after taking the blame for something he didn’t do.

Aagadu

Despite these early troubles Shankar follows in his adopted father’s footsteps and grows up to be ‘Encounter Shankar’; a man so feared that the mere mention of his name is enough to turn big, bad gangsters into quivering cowards.  As expected once he appears on-screen, Mahesh Babu throws villainous thugs around with gay abandon while indulging in snappy dialogues and keeping his uniform creases sharp. Mahesh is in his element here and it shows. He looks even more baby-faced than ever as he single-handedly beats various thugs into submission and revels in his indestructible super-cop persona.  Pretty similar to the way he did in Dookudu really.  The opposing gangsters have learnt nothing and still tend to attack one at a time (they can’t ever watch any movies or they would know better), and there are plenty of barrels, containers, and various other items for them to crash into. The outcome is always a forgone conclusion but it is the getting there that counts, and the action scenes are excellent.

Aagadu

Encounter Shankar is sent to Bokkapatnam, where crime lord Damodar (Sonu Sood) is terrorising the locals and keeping the police firmly under his own control. Sonu Sood seems a little off his game here and is never quite menacing enough to be the big bad movie villain needed to offset Mahesh’s heroic cop. An early attempt to give him a ‘quirk’ falls flat and apart from one or two moments of sneering he’s a bland and relatively innocuous character.  Srinu Vaitla seems determined to include as much humour as possible, but his inclusion of the gangsters into the comedy motif works against any possible build-up of menace and just isn’t particularly funny.  Even Damodar’s gangster lieutenants are roped in with Raghu Babu, Posani Krishna Murali and Prabhas Seenu dropping their initial villainous personae for dumb comedy routines that do nothing to help the story.

AagaduAagadu

There is more comedy in the form of M.S. Narayana who is reasonably amusing as a data broker, although the best comedy moments go to Mahesh as he befuddles the villains with reprises of his own movies.  These gangsters really don’t seem to get out to the cinema much!  The usual suspects turn up in the support cast including Nasser who seems wasted in a role as a mildly corrupt cop, while CinemaChaat favourite Ajay fares a little better in a more serious than usual role and Vennela Kishore has a reasonable role as Encounter Shankar’s main assistant.  Brahmi turns up late in the film and it says a lot that he is sorely needed to bring some relief into an otherwise dull and predictable second half.  He plays a broker who ends up as the fall guy for the police operation, but it’s really just the usual slapstick with the addition of a reasonably funny dance mix from recent films, although even that seems a copy of a similar scene from Dookudu.

Aagadu

Tamanna plays the love interest and starts off as a relatively feisty character that seems to have potential. Unfortunately it doesn’t last, and after she succumbs to Shankar’s trite dialogue she is rewarded by relegation to appearing only in the songs.  There is absolutely zero chemistry between Tamanna and Mahesh but she does get to wear some pretty skirts and twirl around mountains and deserts while Mahesh does some enigmatic walking, so it all works out OK in the end.  I liked the soundtrack and the catchy songs are all well-choreographed and pictured, often with some very enthusiastic backing dancers.  Shruti Haasan makes an appearance in a rather athletic item number which got just as many cheers as Mahesh’s entrance, but Bhel Puri has some of the best costumes.  The backing dancers get to morph from Marvin the Martian to Jack Sparrow while Mahesh sports his classic shirt and jacket combination, although I’m not so sure about his red number with go-faster white stripes.

Overall Aagadu is disappointing, as Srinu Vaitla rehashes ideas from his previous movies and includes too much comedy and an excessive amount of punch dialogue in his formulaic screenplay.  The first half is entertaining enough, but the second half drags until the fast, final showdown which is over almost before it begins.  Mahesh is very watchable and almost manages to carry the entire film with his charismatic screen presence, but even his excellent performance and the best attempts of the rest of the cast aren’t enough to lift Aagadu above average. Best watched in a packed cinema with a large group of Mahesh fans, but in their absence, still worth watching for Mahesh, good action scenes at the start and the songs.

 

Temple says:

Aagadu is similar to other Mahesh films, particularly Dookudu, only longer and much less entertaining.

I found the first half quite dull as the slapstick and comedy uncles piled up and yet the plot never shifted gears.  The ‘comedy’ is broad and overstated – not Mahesh’s finest work. He can be very funny but Aagadu plods along, reusing the same shtick too many times, and Sankar lacks the sarcastic spark Mahesh has brought to other films (like Khaleja or The Businessman). The excessive punch dialogues were meant to be a running gag, but instead seemed a gratuitous reminder of how many other good films I could have been watching instead.  And it’s not an easy film for a new fan as the jokes are very Mahesh-centric, including a nice tribute to his dad, and would largely go over the head of anyone who wasn’t familiar with the oeuvre. The second half is more successful as Sankar FINALLY starts enacting his plans for revenge. Plus I quite enjoyed seeing Brahmi get slapped around. If I had to watch his tedious antics, I was glad to have the vicarious satisfaction of the tight slap.

Despite high production values the CGI work is often poor, both in execution and judgement, and breaks the effect of otherwise excellent action choreography. There is one scene where suddenly Sankar is CGI’d onto a tabletop during a fight and he may as well have been surrounded by a dotted line with a legend saying ‘cut here’. And the subtitles, much as I appreciate the effort, were a bit dodgy. ‘Frightended’ was a highlight, and anarchy had clearly swept through the personal pronoun department. Although I liked the description “Pant. Shirt. Shirt. Shirt.”as I think that is indeed how Mahesh dresses.

Well, at least the Astor has excellent choc-tops. And I hope that nice man The Mahesh Fan and I were talking to after the movie found his way to Doncaster.

 

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.