Srimanthudu (2015)

Srimanthudu

Mahesh Babu’s latest is a commercial masala movie that manages to fit in some better than expected moments while still remaining true to its mass roots. Writer/director Koratala Siva has penned a good story and although the film could have done with some snappier editing and less one-sided fight scenes, overall Srimanthudu is an entertaining watch. Along with Mahesh Babu and Shruti Haasan, the film features a cast of thousands with almost every Telugu actor appearing at least briefly on-screen, but for a wonder there is only Ali as the mandatory comedy uncle and even he has a very truncated role. That alone makes it a step above the usual fare, and with Mahesh at his charismatic best and some great songs, Srimanthudu is well worth a trip to the cinema.

Mahesh plays Harsha, son of a millionaire businessman and the heir to both the company and his father’s fortune. However that’s not what Harsha wants and he refuses to conform and take over the business despite his father’s continual gentle pressure. The scenes between Harsha and his father Ravikanth (Jagapathi Babu) are a little clunky, but the sentiment hits at the right level with Harsha treating his father with respect despite disagreeing with him on almost every topic. Although Ravikanth is very much a family man, he is cold and distant with no interest in anything outside his millions, while Harsha is diametrically opposite, more interested in his father’s employees and their ambitions. Harsha isn’t totally adverse to those millions though and they do come in handy whenever he needs some cash for his various schemes.

When driving his mother (Sukanya) and sister to the temple one morning, Harsha sees Charu (Shruti Haasan) outside her hostel and drives round the block a few times to get a better look. Luckily for Harsha, Charu also turns out to be cousin to his friend Apparao (Vennela Kishore) and she turns up at his birthday party. She’s beautiful and quirky but her biggest draw for Harsha is that she’s studying rural development at college – something that sounds just his cup of tea. Naturally Harsha enrolls in the same course and while Charu is initially rather disheartened to discover that Harsha is really there to study and not just stalking her, romance does blossom between the two.

As Harsha is falling in love and discovering his true calling, the film jumps to a small rural village where a school has collapsed and Narayana (Rajendra Prasad) is running around with a permanent expression of dismay as tragedy after tragedy occurs. Head villain Sasi (Sampath Raj) and his team of muscle men are slowly sucking the life from the village as their beer factory uses up all the water, and Narayana is doing his best to halt the decline as families leave the village and farmers commit suicide. Sasi is also in league with his brother, Minister Venkat Rathnam (Mukesh Rishi), whose son Radha (Harish Uthaman) is threatening Harsha’s father, so it’s inevitable that Harsha will get involved and use his new knowledge of rural development to save the day. Along with his excellent skills in dishoom of course!

Multi-layer Mahesh has shed his multi layers for Srimanthudu and he mainly appears in a single shirt or elbow baring T-shirt, although the biggest cheers went to his appearance in a knee-baring lungi. He is a one-man unstoppable army and the fight scenes are more comical than exciting as Harsha dispatches any and all comers with ease. There is one fight scene at a wedding function which is cleverly choreographed, but the rest are a montage of villains hitting the ground and bouncing wildly in all directions while Harsha has no difficulty lifting men twice his size over his head and flinging them into the dirt. No one manages to even lay a finger on him until it becomes necessary for the plot, and even then it’s during a shady ambush where Harsha still comes out on top. It’s mayhem, but it’s Mahesh mayhem and I loved every minute!

Shruti Haasan has a role with some substance and she’s generally good as Charu, even managing to hold her own against the star power of Mahesh. It’s good to have a heroine who doesn’t fade into obscurity as soon as the action ramps up, and Charu’s character does have enough depth to move beyond the romance track. The love story itself is well blended into the village make-over story line, while Mahesh and Shruti have good chemistry together adding a touch of plausibility. Shruti also has some lovely outfits, although she does fall foul of the costume designers in the Charuseela song. Seriously, no explanation is possible for the studded shoes, while the female choreography just adds insult to injury. The other songs are all much better with Poorna appearing in the first Rama Rama song, while Shruti gets to strut her stuff in the rest. The music by Sri Devi Prasad is catchy and the choreography generally very good – I loved a brief flash-mob style interlude in the bangle market during one of the songs while Dhimmathirigae bursts onto the screen in a riot of colour and is just as awesome as this teaser suggests.

The accomplished support cast is excellent although with so many good actors quite a few seem underused. I would have liked to see more of Subbaraju, who briefly appears as one of Harsha’s relatives with a spiritual disposition, while Rahul Ravindran has a potentially interesting role as a rival for Harsha that sadly isn’t expanded any further. However Jagapathi Babu and Rajendra Prasad have better developed characters that allow shades of grey while Mukesh Rishi and Sampath Raj are just as black and despicable as such villains need to be.

Srimanthudu may not be a perfect film, but it is a welcome return to form for Mahesh and infinitely better than last year’s Aagadu. The film is a tad overlong and somewhat slow to get going in the second half, but at least Koratala Siva avoids any suggestion of appearing preachy by keeping the attention focused on Mahesh rather than the development work he is doing in the village. Nothing to complain about there! Mahesh is excellent throughout and with a story different enough to maintain interest and great performances all round, Srimanthudu is one of the better films I’ve seen this year. Recommended for Mahesh, Shruti Haasan and those crazy fight scenes.

1 Nenokkadine

nenokkadine-poster

I love Sukumar’s Arya 2, I think Mahesh is a very good actor, the story had been talked up and the budget was huge with lots of big sets and fancy locations. Unfortunately 1 Nenokkadine is more like two films thrown together than a cohesive whole  – one a complex psychological thriller and one a mass shoot ‘em up blow ‘em up. I can’t avoid one big spoiler although I don’t want to discuss the plot in much detail. But ultimately Sukumar fails to fully capitalise on either the big idea or the big star.

Note: I didn’t get to see this in a cinema as the screen caught fire at the first show and that was that! (No one was hurt.) Since I tried to see this legally but was prevented by an act of god, I wasn’t conflicted about using more dubious means available until the DVD releases.

Anyway. What to believe when the hero is an unreliable narrator? This should have been an interesting conundrum but unfortunately 1 Nenokkadine is full of holes and the direction is clunky.

Gautam (Mahesh) is a rockstar. He is prone to nightmares and constantly on guard against the men who killed his parents and want to finish him off. When Gautam sees one of the men in the audience of his show, he takes off initially in fear but then in pursuit and kills the guy. Gautam turns himself in to the police, clearly disturbed but aware he has done something wrong. He was chased by Sameera, apparently some kind of production staff on the show who is also a journalist and squealy fangirl. She films the fatal encounter and reveals the truth about Gautam – he was hallucinating the whole thing. There was no other man, no fight and no stabbing.  Gautam’s backstory finally emerges when he ingeniously tracks down Nasser who says he was a cab driver 20 years ago…And that sends them off to London and the high adrenalin second half of the film. And yet once again, nothing is as it seems.

Mahesh is very good and his dramatic scenes really do have urgency, conveying  Gautam’s pain and frustration. The scenes where Gautam is hanging on by a thread, fighting his inner demons, are so well acted but often undermined by the direction. Mahesh can do a lot with silence and minimal histrionics but Sukumar lays on tricky visuals where he could have just let the performance breathe. There is zero chemistry with Kriti Sanon, and their romance was of the desultory insta-love variety, an obligatory element. A hero with integration disorder opens up a lot of possibilities for turning mass film tropes inside out. But there is little logic, and so much bad filmi medicine, that the mental illness almost becomes irrelevant. Gautam is a man who cannot trust anyone and is out for personal revenge. Now he learns he cannot trust himself. How had he functioned for the last 20 odd years if he was prone to such vivid and realistic delusions? Why had no one around him noticed anything odd given he had ‘killed’ before? There was no reason for him to be a rockstar other than as a change of image for Mahesh, so why not have more fun with the new career? And it takes everyone far too long to unravel the screamingly obvious Significant Clue.

Kriti Sanon’s Sameera takes about half the film to find her feet, partly because she is a fairly ordinary actress and partly due to the patchy writing. Sameera lies, confuses Gautam, and finally says she is doing it all to cure him because she loves him. Yeah, whatever.  And the idea that if you love someone you have to believe them takes no account of mental illness which by definition means a person may struggle to have awareness or control of their thoughts and resulting actions. I would normally complain about drugging the heroine but I was as ready as Gautam to have a break from her.  Luckily one day Sameera recalls she is a journalist and so should be capable of thinking and research. Maybe she found her brain when she swapped handbags. She starts to put together the attacks on her, the men following Gautam, things, and links it back to the underworld don (Kelly Dorjee).

Comedy rears its ugly head as Gulab Singh (Posani Krishna Murali as a London based Sikh taxi driver) is tasked with facilitating Gautam’s revenge logistics. Pradeep Rawat, Kelly Dorjee and Nasser are the main supporting actors and deliver their usual reliable standard of performances.

The songs are an interruption and do nothing for the plot. Kriti Sanon prances about in micro shorts all the time so Aww Tuzo Mogh Kortha wasn’t an excuse for a skinshow, although she did also get some guitar fondling into her repertoire. The English lyrics are horribly cheesy, especially for You’re My Love, and nobody seems to be having fun. But don’t take my word for it.

Mahesh has very similar choreo for every song so that was a bit lacklustre too.

Peter Hein puts all the right elements into the action scenes but repetition and sluggish editing sap the energy. How could a chase involving jet skis, boats, a parasail and hydro jet packs be tedious? There are also some things that are glossed over (e.g escaping from an underwater car) where they either lacked budget or an idea of how to extricate the hero from his impending doom. Sukumar is trying for a psychological edge but replaying a shot of Kelly Dorjee throwing a can into a bin multiple times to show Gautam thinking of using the rubbish as physical evidence is just painful.

The locations are used well, and the film looks beautiful. There are some really nice touches that add style and even humour. Mahesh’s son Gautham appears as young Gautam (those ears! Instantly recognisable).The threat of Indian fans forming a mob is enough to get the police to rethink keeping Gautam in jail, but then everything else functions as though the Belfast police are identical to the Andhra police so what is the point of that cultural in-joke? It’s all very disjointed and seems to have been written by committee. Oh but Nasser’s flashback wig is a doozy. I think it is the poorer cousin of The Wig from Shakti. And for the hardcore  Mahesh fans, yes he does a shower scene so you will see naked upper back. The glimpses of princely elbow are now old hat so no need to mention there are approximately 437 of those throughout the film. I think our friend The Mahesh Fan would approve of the brainy specs. Oh you want proof?

In a good psychological thriller once the twist is revealed the story should be enriched, and the viewer should be able to re-interpret scenes with their new knowledge. I think films like The Prestige and even Sixth Sense did that extremely well. Sukumar couldn’t make his own mind up about the film he was making so ended up with an overly long muddle that wouldn’t completely satisfy either full-on Mahesh fans or the psycho-drama audience.

A schizophrenic film about schizophrenia. 3 stars (mostly for Mahesh).

Heather says:

I enjoyed this film despite a few fairly obvious plot holes and a relative lack of logic at times. Most exciting for me were the scenes shot in Northern Ireland since this is where I grew up and, Game of Thrones aside, it’s rare that I get to see my home country on screen. There was something slightly surreal about watching Mahesh Babu run across Carrick-a-rede bridge, past Scrabo tower and wander through the streets of Whitehead, particularly when you know just how far apart those places are in reality! That aside, there is much to enjoy in Nenokkadine. Mahesh is in ultra-brooding mode with his fierce intensity somehow out of place for a supposed rock star. That’s probably my main question – why make him a rock star? Where are his security people and minions to run and pander to his every whim – if he’s as famous as implied here then he does seem to travel very light. His performance however is excellent and as the story unfolds it becomes ever more believable that he has a mental illness with his intense and chilly stare.

Apart from the scenes in Northern Ireland (which I have now forced my entire family to watch) I love when a frog hops away from the fight and the action sequence in the bathroom is fantastic.  Peter Hein comes through again! Thankfully there is no annoying separate comedy track to detract from the thriller nature of the story and although the romance wasn’t particularly well realised at least it did give a respite from all the brooding. Nenokkadine is a good attempt at a rather more psychological thriller and while parts of the story are familiar at times, overall I do like the way Sukumar thinks. I love his tendency to make his heroes somewhat damaged and their flaws make them more interesting (Arya 2 is still my all time favourite Telugu film) but at least for this film I would have liked him to branch out a little more from Telugu formula and ditch the songs. I know that’s odd coming from me, since I usually want more songs, but dance numbers just don’t work particularly well in a thriller, and here the tension falters every time the action is disrupted by a song. However, I still did enjoy Nenokkadine and I’d recommend it as a rather more sophisticated thriller from Sukumar and for the excellent performance from Mahesh. 4 stars.

Jalsa

Jalsa-posterTrivikram’s Jalsa wanders all over the place with an uneven blend of romance and action packed drama. I had to check that it really was made in 2008 as the plot, and treatment of female characters, is very retro and not in a charming vintage way. Pawan Kalyan gives a good performance but unfortunately he can’t save the script and some glaring plotholes. Like the hero, Ileana D’Cruz rides out some stupid plot turns and inconsistencies in her character to hit the right notes in the more thought out scenes.

Jalsa-Prakash Raj

Sanjay Sahu (Pawan Kalyan) goes to ask his girlfriend’s (Kamalinee Mukerjee – don’t blink or you might miss her) father (Prakash Raj) for permission to marry Indu. He refuses and she is married off (to Kamal Kamaraju). Sanju goes back to his longest standing relationship, the one with the bottle. But then he meets Bhagi (Ileana) who falls for him on sight and eventually he returns her feelings. The story jumps forward and Bhagi finds out that Sanju had previously wanted to marry her sister. Naturally she is disturbed by the news, and flashes back to a history of getting her sisters hand-me-downs. Her dad assigns Pranav (Brahmi) to keep Bhagi safe from Sanju so you know this is serious. Unfortunately Pranav’s presence spurs Sanju on to some childish behaviour and the movie gets bogged down in comedy uncle shenanigans.

The first half sets up the romantic angle and then everything takes a sharp left turn as Sanju’s secret past as a naxalite is revealed. He is presented as the ‘good’ kind of terrorist who doesn’t want innocents to die. But still, he embraces violence so…. I think I find the rebel Sanju more interesting than the drunkard but I can’t say I wholeheartedly like either aspect of his character. The flashback also reveals his prior connection to Prakash Raj’s character as well as the villain Damodhar Reddy (Mukesh Rishi).

Bhagi is introduced as she plays an energetic game of squash at the gym, then races her friend Jo (Parvati Melton) to the car. They are confronted by a creep chases the terrified girls into the path of a very drunk saviour, none other than Sanju. I’m not convinced that moments after avoiding a threatened gang rape their thoughts would have turned to romance and bickering over who gets the guy. Bhagi starts out characterised as innocent and a bit dumb, but Ileana bounces daft lines back and forth with her friend Seenu (Sunil) as Bhagi tries to deal with her one-sided attraction to Sanju. Later as Bhagi becomes more assertive and playful Ileana has more fun as she plays off Pawan Kalyan, and also shows more range and depth. I quite liked Bhagi but I got the feeling the role was written piecemeal to suit particular scenes rather than conceived as a character in her own right.

Sanju is the guy who beats up all the guys who tease girls at college. It is nice that the hero defends people against bullies but I am tired of seeing women only allowed to be safe if the biggest bully lets them. He also goes on a rant about how aggravating it is that he can’t slap his future wife to control her for fear of the law and women’s groups. It was done for dramatic and ‘comedic’ purposes and it just doesn’t mesh with the thoughtful side of Sanju. He was a smart guy who chose to become a naxalite through tragic family circumstances but then seems to just forget all about it once he got into college. It really made no sense. And why does he always wander around with his belt undone? Despite my issues with the writing and the rape jokes, Pawan Kalyan is very funny in some of Sanju’s drunk monologues, with a deft balance of verbal and non-verbal comedy beats. The fight scenes are choreographed to his strengths, whether a precision martial arts style or a scrappy street brawl, and he gives them an elegance and energy that is totally missing from the lacklustre songs. I did like it when he punched a car and all the doors flew off. His choreo seems to be limited to ‘shuffle-shuffle-jiggle-wave your hands around’ but I suppose it helps him avoid direct comparisons with You Know Who.

There is a drawn out ‘comedy’ sequence where Sanju tells Brahmi’s character that he plans to drug and rape Bhagi. Then says he is only joking because it is no fun to rape an unconscious woman when you could have one running around and screaming. This kind of ‘joke’ is rife in 80 and 90s films, but at least I can pass that off as The Bad Old Days. Sanju’s plan to win Bhagi back seems to be to ruin any other chance for her until she caves in. And her sister insists Bhagi accept all this as it is Sanju’s way of expressing his love, and if a boy does that it is OK and you have to let him because he is a boy. Jalsa was made in 2008 by a smart director with a hero who is by all accounts quite intelligent so I cannot find it in me to make the same excuses for how this plays out.

One of the things I do really like is Mahesh’s laconic narration. His slightly lazy drawl hits the right notes of comedy, empathy, and sarcasm as he reveals more about Sanju than is evident in the drama.

Prakash Raj gets some nice bromantic moments with Pawan Kalyan but his character makes so many poor decisions that I lost all patience with him. Mukesh Rishi plays his usual imposing villain. He thinks nothing of killing an out of town Don on the way back to jail from his rejected bail hearing. Tanikella Bharani is creepy sidekick Bulli Reddy, his fixer. There is a tedious running gag between Sunil’s Bunk Seenu and Dharmavarapu Subramanyam’s greedy psychiatrist that I would have solved with a diagnosis of One Tight Slap, three times a day until the course is finished. Brahmi does his shtick, but is never more than mildly amusing. If you are looking for miracles to attribute to the Powerstar, he does seem to detoxify Ali who gives a fairly restrained character based performance. I generally enjoy Ali’s appearances in Pawan Kalyan’s films but typically loathe him in everything else so this is a mysterious but good thing.

Telugu Movie Science has long been on the cutting edge of creativity and the laws of physics are tested in Jalsa’s action scenes. As usual the showdowns involve an orderly lineup of hairy rowdies patiently taking turns to be beaten up. But no one can deny that disputes settled the old fashioned way – a swordfight – tend to have a definite outcome.

I can see why Powerstar fans, the most passionate movie fans EVER, often enthusiastically recommend this film. Pawan Kalyan is given ample scope to show his acting depth as well as his comedic and action chops and he really does shine in some scenes. It is just a pity that the story doesn’t really hold up and the direction seems more focussed on set pieces and not enough on bringing a balance to all the disparate elements. 3 stars.

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.

 

Okkadu

Okkadu-Poster

Gunasekhar’s 2003 film Okkadu is a beautifully balanced masala film, full of action and drama with a splash of romance and a dash of humour. Set mostly in Hyderabad’s old city, there is a strong sense of place and community and some lovely visuals. Despite being almost 3 hours long, the pace is just right and the story canters along with barely a pause. The first 20 minutes or so is almost perfection, introducing the hero and establishing his character before the real story even starts and with minimal dialogue.

Ajay (Mahesh Babu) is an academic underachiever but excels at kabbadi. He hangs out with his friends and team mates, and has a strong sense of justice if not a strong regard for rules and laws. Seeing a damsel in distress (Bhumika Chawla as Swapna), Ajay must help. And so he draws the ire of crazy baddie Obul Reddy (Prakash Raj) who intends to marry Swapna. Fleeing back to Hyderabad, Ajay tries to help Swapna leave India and also win his tournament.

This is another of those songs that could have been shot by the Hyderabad Tourism Commission – it makes the city look so enticing and diverse. I always enjoy watching Mahesh attempt classical influenced choreography. There is an air of determination and faint panic, possibly the result of a dance teacher yelling ‘Shoulders down, elbows up, stop flopping those elbows around, now double time double time double time! Is it paining? Good, then you’re doing it right’. That clip also contains a bit of Maheshian freestyling. No matter how cool a film hero may look, he’s only ever a breath away from uncle dancing.

Okkadu-city viewOkkadu-uncle dancing

Ajay is a great role for Mahesh. He is heroic in that he does what he sees as right, but he doesn’t have the usual array of super skills. He is just a guy who happens to be handy in a fight. He is a well rounded character, and his family and friends were very much part of Ajay’s life. Announced as a Krishna like figure in his first song, Mahesh delivers a lighthearted and fun performance but switches on the intensity when Ajay is on the warpath. While Ajay has Swapna hidden (in his room at home), he does remember to feed her and give her access to a bathroom and he remembers her birthday. So he is thoughtful but he does throw his weight around as all filmi boys do, and there is a slap that sparked a bit of debate between me and The Mahesh Fan. She was not a fan of the slap. I say that anyone who had to put up with Swapna and her poor decision making for so long would not be human if they didn’t want to slap her.

Okkadu-birthday suitOkkadu-not even close

No. But for for those who pay attention to such things, there is a lot of elbow on display in Okkadu.

Prakash Raj makes Obul Reddy one of my favourite filmi villains. He is so creepy and wrong, but believes he can charm Swapna despite having killed her two brothers.

Okkadu-Flirting 1Okkadu-Flirting 2

His obsession with Swapna extends to Ajay, the man standing between him and his love. Prakash Raj plays the romantic lovey-dovey dialogue with a demented flirtatiousness and like Mahesh, can bring the dark side when needed. While his antics were laughable, there was a determination that kept him from seeming a laughing stock. His fighting style was needlessly flamboyant yet got results, much like the character.

Okkadu-the planOkkadu-Telangana Sakuntala

There are even moments of pity for the bad guy as his mother (the awesomely over the top Telangana Shakuntala) clearly doesn’t think he is always manly or bad enough.

Okkadu-Bhumika face 1Okkadu-Bhumika face 2

Almost everything Swapna (Bhumika Chawla) does is stupid. She finally seems to develop a bit of a brain towards the end of the film, her coolness unsettling Obul Reddy (and his rapey plans). But that confidence seemed more to be borrowed from Ajay than due to any of her own qualities. I find Bhumika an indifferent actress and both of her facial expressions irritate me. This isn’t a challenging role but I would have liked to see someone who could add a bit more nuance to their snivelling.

Swapna did get a very pretty introductory song, and I could ignore Bhumika and concentrate on the tiny birds fastened to the set (and her) and the lovely scenery.

Mani Sharma’s soundtrack and songs work so well in Okkadu. The songs are mostly nicely picturised and generally help the story or character development to emerge. And there is a lot of dancing so that is a plus in my book. Gunasekhar makes good use of the background score and ambient noise from the scenes, with the tempo of street sounds heightening the intensity of the action. Even Obul Reddy gets a theme that is memorable and perfectly daft. The fight scenes are energetic but not too gory and I find them very entertaining. There are some nice visual set pieces that mirror other events or highlight the difference in characters too.

The old chestnut of justice vs. what is legal was given a slightly different treatment here. The ever authoritarian Mukesh Rishi plays Ajay’s dad, a senior policeman. He is out to capture a kidnapper, while his son is out to save Swapna. The priorities and conflict are clearly shown but not in too heavy handed a manner. Political corruption and the lack of independence of the police force are also shown up but it almost happens in passing, with little tub thumping about causes or society.

Okkadu-the good sonOkkadu-Overacting

The ensemble scenes are particularly good. Ajay’s mum and sister (Geetha and Baby Niharika) are less than reverent towards the son of the household and I liked their teasing banter. Ajay had a large group of friends and team mates and at critical times they stepped in to help him and give him information he needed to carry out his plans. I even laughed at some of the comedy dialogues, more because of the excellent delivery than the lines, but it is unusual for me not to look for the remote when I spy a comedy uncle.

Okkadu has it all without having too much of anything. Gunasekhar directs another excellent performance from Mahesh and the balance of serious and silly is bang on. Full on entertainment that won’t leave you feeling like you’ve been hit by a truck. 4 ½ stars! (deduction for Bhumika and her woeful expressions of woefulness and some dodgy CGI).