Baahubali

Baahubali-Poster

Baahubali is reminiscent of classics like Patala Bhairavi and Gulebakavali Katha, with long lost princes, secluded kingdoms, stunning visuals and swashbuckling action. Rajamouli builds steadily to the cliffhanger climax with some fun, flirting, fighting and flashbacks along the way.

A baby is saved by the sacrifice of a majestic woman. He grows up happy and ignorant in a small village, but is always drawn to the high mountains. He tries to scale the massive waterfall to reach the peaks but always fails. Until one day a vision of a beautiful woman leads him to success and he stumbles into the kingdom of Mahishmati. Grown up and frequently shirtless Shivudu (Prabhas) meets his dream love Avanthika (Tamannaah). She is a warrior on a mission to rescue Devasena (Anushka Shetty), held captive for over 25 years by ruthless king Bhallaladeva (Rana Daggubati). Bhalla hates Devasena because she once chose his rival, the legendary Baahubali. And Shivudu is the very image of Baahubali. Hmmmm.

The majestic woman was Sivagami, the queen mother, played by the stunning and regal Ramya Krishnan in an extended flashback.

I was so excited to see her in the cast, and even more so that she has a substantial role. Sivagami is reasonable but ruthless, her eyes blaze with power, and her word is the law. She rules the kingdom and Ramya Krishnan commands every scene she is in. Sivagami has a nice dynamic with Kattappa (Sathyaraj), her enforcer and bodyguard. Sathyaraj doesn’t need a lot of dialogue to build a strong characterisation, and as the story unfolds Kattappa becomes more complex and ambiguous. This royal family has some baggage.

There is always a point where a Telugu film hero pushes all others aside so he can do the hero-ing. I quite liked that when Shivudu tells Avanthika that her dreams are now his so he will go free Devasena for her, he actually had no skin in the game and really was doing it to help her. Sure, he had had some run ins with the kingdom guards but he didn’t know who he was or that he might have a more personal interest in the outcome. Avanthika drugged him to give herself a head start and he didn’t reproach her for that either. It was more of a partnership, with Shivudu acknowledging that she wasn’t going to give up just because she had been distracted by his flexing.

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I have high hopes that by the time the second movie starts Avanthika’s ankle is healed and she will resume arse-kicking, and will be motivated by having something to fight for rather than a cause to sacrifice herself for. I also liked that Avanthika’s nihilism was displaced somewhat by an appreciation of beauty and her acceptance of love even if it is a filmi cliche.

The subtitle team gave Shivudu an unexpectedly genteel aspect as he frequently said things like ‘oh my!’ and ‘oh my goodness!” which didn’t seem all that warrior like. Prabhas is so genial and his dialogue delivery sounds a bit too modern and mumbly for a genre piece, but he totally commits to the role and does the best dance-fight-makeover I have seen. While I objected to Avanthika being forcibly partially stripped (mostly due to the inclement weather), I did appreciate that Shivudu had a steady hand with the eyeliner. And that Rajamouli had Prabhas cavorting under a waterfall as much as Tamannaah did. Prabhas and Tamannaah make a nice looking couple but I am more interested in seeing how their story ends.

Rana was very impressive, both for his ye olden days shirtless physique and his performance. Rana gave Bhallaladeva enough smirking nastiness to be delightfully hateful but also showed he was a smart and fearless warrior who legitimately had reason to expect he could be king. Bhalla might not go out of his way to remove Baahubali, but he would take advantage of a situation if fate presented. His scenes with Devasena were imbued with the weight of years of brooding and venom and he declaimed the spiteful dialogue with fiery precision. Anushka gave as good as she got so I am looking forward to their backstory being developed in the next film and seeing a bit less of her dodgy weather-beaten makeup.

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The Kalakeya are Ooga Booga natives complete with dodgy “tribal’ accoutrements, falling somewhere on the Mad Max to Lord of the Rings tribal baddies spectrum. They presumably can’t speak Telugu because they are Orc-ish, and I guess choosing another regional language would have opened up various cans of worms so the faux Bushman-esque dialogue may be a smarter workaround than it seemed.

The action scenes are awesome and the final battle is truly spectacular. While there is a heavy reliance on war machines and fancy armaments (I loved Bhalla’s Lawn Mower of Death), the stakes are still very personal. Kalakeya tries to stop Baahubali by literally throwing more people at the problem. It’s a cheesy idea played totally straight and it just about took the roof off the theatre when Baahubali emerged from under the pile of bodies.

The production design is beautiful and this is well worth seeing in a cinema just for the gorgeous fairy tale design and for all the things. The waterfall! The CGI is sometimes clunky but it does create the right impression even if specific moments are not seamless. I am not sure what I think about the watermark that appeared on screen whenever a CGI animal was in the shot. I wasn’t fooled for a second by the bull that Rana wrestled but I admit I was paying more attention to his shoulders than the bovine opponent. A fight scene in the ice and snow is poetic and deadly like a masala-fied  Zhang Yimou, and the subsequent toboggan escape is pure Bond. There were about 20 shoemakers credited in the end titles. After some discussion Heather and I decided that it must be hard to make shoes that don’t look like shoes but that still do the trick. Bravo cobblers! Take a bow goldsmiths!

MM Keeravani’s soundtrack left minimal impression on me as I was caught up in the story and visuals. The item number Manohari was a stand-out; sensual, saucy, and a bit silly. The girls got handsy with Prabhas as as lots of drunk guys swayed past on ropes or acted as platforms for the ladies. He was more like a prop for the girls, and they used his lanky frame to excellent effect.

Rajamouli has a knack for casting. I’d never thought of Sunil as a leading man but Maryada Ramanna proved otherwise, and we all know the real star of Eega. Casting Ramya Krishnan as Sivagami is genius, and while I was slightly disappointed that Anushka had so little time on screen in this first film I am very VERY excited about seeing her character in the finale. The support cast are all pretty solid and the multitude of characters are distinct and memorable from Shivudu’s villager family to the minor royals and the forces out to liberate Devasena. Oh, and Rajamouli himself, finally venturing out of the end credits and into the main film.

SS Rajamouli has a great sense of how to translate narrative into visuals and how to build the world he needs to tell his story. Baahubali is truly grand and still totally masala, true to its Telugu roots. See it!

Heather says: Baahubali is an epic film in every sense of the word and I loved every minute! It really is sweeping fantasy adventure on a gigantic scale and I will need to watch it again (and again!) to fully appreciate all the amazing detail. From the sheer immenseness of the towering waterfall in the opening scenes and the lavish Kingdom of Mahishmati to the delicate design of the jewelry and everything in between, the film looks amazing – due no doubt to the cast of thousands mentioned in the end credits. But it’s not just a visual spectacle, as Rajamouli breathes life into a classic mix of mythology and folklore to provide an entertaining and captivating story, naturally along with a good dash of derring-do and plenty of flexing of muscles!

I’m a big fan of Prabhas and he really came into his own once he got a sword in his hand. I was quite impressed by his rock-climbing technique too, although he did seem to miss a few good cracklines that might have made his ascent somewhat easier. However it’s not all just about the muscle flexing, and Prabhas does have plenty of likeable charm throughout and adopts a suitably commanding presence on the battlefield. Rana was every bit as good and he seemed to relish the occasional ambiguity of his character even while embracing the dark side.As Temple mentions, Peter Hein’s action is excellent on every level, and the epic battle scene in the second half is simply superb. I prefer to think of Bhallaladeva’s device as the spinning scythes of doom, perhaps betraying my love of LOTR, but there is plenty of other weaponry to make my inner fantasy nerd happy.

Rajamouli is also to be congratulated for including four strong female characters who all have important roles to play in the story and who don’t fade into the background when the hero appears. Ramya Krishnan surely must have the best eyes in the business and her imperial mannerisms were perfectly delivered. I think I need to adopt her attitude for my lectures – my word is the law! Great also to see Tamannaah’s warrior role wasn’t just an excuse to let her run around in skimpy attire and wave a sword, inappropriate winter clothing aside. She did get to do some real fighting and looked appropriately fierce when required. Like Temple I was disappointed in Anushka’s make-up but I’m definitely looking forward to learning more about her character and Sathyaraj’s excellent Kattappa in the conclusion. With amazing production and excellent performances from all the cast, plus Rajamouli’s legendary story telling skills, Baahubali is not to be missed. Just make sure you see if in the cinema for the full effect. All I can add is roll on part 2!

Bujjigadu

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Puri Jagannadh and Prabhas are a winning combination and while Bujjigaadu lacks the wardrobe excesses of EK Niranjan, it is a fun if ludicrous film.

Little Bujji and Chitti are neighbours in Vizag, inseparable until they have a fight. Bujji always does what Chitti says and she tells him to not speak to her for 12 years, after which she will marry him. He knows he can’t stay without wanting to talk to her so he runs away. Time passes, and Chitti’s family move away. Flash forward and we see our grown hero (Prabhas) beating up goons in Chennai. As evidence of his Tamilification, Bujji is a huge Rajinikanth fan, desperate to get to the FDFS of the Superstar’s latest film. And that leads handily to a corking tribute to the man himself.

Bujji returns to Vizag after 12 years, confident that Chitti will be there waiting. He is distracted and strays into a comedy subplot which results in some jail time. While in jail he is offered 1 crore if he breaks out and kills a man. After a moment of soul searching and confirmation the target was a bad guy, he accepts. After all, he needs money to marry Chitti. Meanwhile she has returned from studying overseas to look for Bujji, only to be sent away by his folks with a flea in her ear.

The pair cross paths, each unaware of the other’s identity. Bujji’s nom de crime is Rajinikanth and apart from knowing Chitti (Trisha) is in Hyderabad, he has few leads to go on. Eventually Bujji discovers that Chitti is the sister of Sivanna (Mohan Babu), the man he was paid to kill but has since befriended. Bujji has been living in her home all along. Sivanna asked Bujji to keep his true name a secret as he knew his little sis would leave home as soon as she found her childhood love. So Bujji agrees, albeit with some conditions.

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Hero and heroine under one roof with the erstwhile villain, more villains breathing down their necks, true love and secret identities…What could possibly go wrong?

Bujji and Chitti still imagine each other as they were in childhood, and their adult selves don’t really hit it off. I wondered how long they would last once they had to spend a lot more time together and the idea of a mutual destiny started to wear thin. Trisha plays Chitti as a little stuck-up, vain and intolerant, but still with some likeable characteristics. Good friend The Mahesh Fan once damned Trisha’s acting by saying she always looks a little more in love with herself than with her hero (Mahesh in that instance) and I tend to agree. Trisha and Prabhas do have an easy rapport but it never seems like a sizzling chemistry.  On the other hand, when Trisha looks at herself in a mirror, all bets are off.

Prabhas is immensely likeable, and despite his slightly dorky charm he can muster up a good death stare and punch dialogue when needed. Bujji is fairly easy going but he is a Telugu film hero so there were a few moments of brain melting ‘logic’ and chauvinism. His declaration that if Chitti said she loved him he would have to kill her because she could only ever love him and she didn’t know who him was so clearly would be guilty of cheating and thus deserve to die made me wish again that every film had a Tight Slap Administrator, and that it was me.

Mind you, Prabhas does get props for his Chihuahua wrangling skills.  And I love how much love Bujji has for Sivanna and his constant calling people Darling.

If we define love as mutual respect and affection with a dash of chemistry, then the strongest relationship in this story is between Bujji and Sivanna. Sivanna sits back to watch his goons take Bujji apart, but instead finds himself cradling his bloody opponent, shouting at him not to die because he loves him. Mohan Babu and Prabhas play off each other very well, and their characters seem more complex when they are together as they get down to the truth of things rather than just posturing.

Of the large supporting cast, MS Narayana is a standout as Bujji’s boozy, soft hearted dad. The scene where he recognised his runaway boy was sweet, and I really do like him in roles where he gets to act and not just be the butt of jokes. Sanjana plays Chitti’s sister Kangana and she is pretty and not completely terrible so I suppose she met the brief.

The villains are Machi Reddy (Kota Srinivasa Rao) and his two lions – Ajay and Supreet. House favourite Subbaraju is excellent as hapless third son Venkat , who seems a bit too sensible and not really hard-core enough for his dad. Sunil and Ali provide more than enough pointless comedy. Brahmaji is Sivanna’s hot headed sidekick. And Mumaith Khan does her thing as a welder/item girl.

I liked that she wore professionally appropriate gear for both her day jobs.

The fight scenes are campy and funny, with lots of flexing and posing by Prabhas. Every single breakable thing on set is utilised, and the sound effects team are given full rein on the biffo and squishy stabby noises. The finale took place on an abandoned film set so there were lots of fragile brick walls and stained glass windows, enough for everyone to have a go. Almost all the boys get to fly about either through wires or effects. I kind of love the moment when Bujji sets his foot on fire, all the better to kick the goons with. That’s commitment. I liked that Bujji could pour out his feelings in Tamil to Telugu people and in Telugu to Tamil friends and thus get to wallow in his woe while keeping his secrets. There were some zingy one liners and some mystifying subtitles, and that all adds to the fun.

The costume department made some interesting choices, and I applaud their application to the task of dressing the overseas backing dancers with only the materials commonly found in hotel rooms and budget clothing chains. And Prabhas takes denim in some unexpected directions. The songs are mostly fun (even if just for the outfits) and help you take a breather in between fight scenes.

Bujjigaadu has a hero who knows exactly how to hit all the right spots in a mass potboiler, and a director with a big budget and a sense of fun.  4 stars!

Mirchi

Mirchi-Movie-PosterMirchi is a mass action romance revenge saga, offering few surprises in the story but with great casting and some solid performances. Writer/director Koratala Siva gets bogged down in a long flashback and loses the momentum a bit towards the second half, but generally moves along at a reasonable clip from fight to song to romance to fight and back again. Like many mass films, it starts light and fluffy but then the body count starts to rise so you do need to be a bit gore tolerant to fully enjoy Mirchi.

Jai (Prabhas) is an architect in Milan. He meets Manasa (Richa Gangopadhyay) and saves her from some thugs. They become friendly and he learns of her family – dominated by a violent assortment of men living in a big old house – and Jai decides to fix her life. Of course, Jai has an ulterior motive for wanting to reform her family, and that is revealed through a very long and detailed flashback. Jai is the son of Manasa’s family’s enemy, Deva (Sathyaraj). How can Jai reform her family, reclaim his place with his own estranged family, eliminate any enemies who refuse to comply and oh yes – what will happen to Manasa when he is reunited with his first love, Vennela (Anushka Shetty)?

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Prabhas is made for this kind of role. Jai is a nice guy, although of course he can kill evil doers with a single blow. Prabhas has such a likeable screen persona and the action scenes are well within his capability. He has nice chemistry with both leading ladies although as the story unfurls there is little ambiguity about who he would choose.  There is not a lot of complexity or nuance, but the role contains enough variety to give Prabhas a bit to work with. Jai does have to find a way that doesn’t totally rely on revenge and violence so there is a clear before and after in his character. One of the highlights is the slightly more prominent roles given to some supporting actors, and those scenes give Prabhas more scope for lighter moments. Jai’s relationship with his father is played out nicely too, showing the slightly more sympathetic side of the feud.

Favourite That Guy Subbaraju is Manasa’s brother. He is first seen pursuing some unfortunate bloke through college and delivering a serious beating. But Jai can see that apparently all he needed to give up his bullying ways was … discovering girls. Yes, Subbaraju got in touch with his sensitive side after dancing to Moves Like Jagger with the girl who fancied him. Who knew Maroon 5 was good for anything? But if that’s what it takes to get a good looking bloke to eschew dismemberment and take up flirting, well then I suppose that is not a bad thing. This dance outbreak also had the effect of making him dress better, pay his rent on time and generally improve his manners.  From then on he spends the rest of the film on the phone to the girl, very coy and giggly as he mouths what I can only assume are dialogues along the line of ‘no you hang up…no you…no you hang up first’ and the like. Silly but amusing, and nice to see him in a slightly different role.

Mirchi-Jai and Manasa

Richa has a one note character so there isn’t much she can do with Manasa, although she and Prabhas have nice rapport and that helps make the growing friendship between the characters more credible. Once the terribly long flashback starts, she is sidelined and pretty much disappears until the last couple of minutes. Anushka gets more investment from the screenplay as the feisty village belle Vennela. She sets her cap at Jai and he happily succumbs, colourful dance numbers and all. Until disaster strikes on their wedding day.

Sampath Raj has a prominent role as Manasa’s uncle, a nasty piece of work who bullies the entire household and believes he can heal his paralysed father by despatching selected enemies in front of him. Another That Guy, Adithya, plays Jai’s uncle, an old school type who believes in sorting out issues with a machete. Adithya doesn’t get the same opportunity to show off his acting range but he does get ample chance to flash a bit of leg. Supreet and Ajay make an appearance in the second half as muscle for Manasa’s family and the violence escalates towards a fairly brutal ending.

Sathyaraj and Nadhiya are good as Jai’s estranged parents and there are lots of other familiar faces. Brahmanandam does his usual thing and luckily has minimal screen time in the latter section of the film where comedy would have been misplaced. His scenes had the audience howling with laughter, but as this was another Adventure Without Subtitles that all went over my head. Satyam Rajesh, Raghu Babu and others do what they do in a film that relies on ‘types’ more than on characters.

The soundtrack is fun and the picturisations are sometimes spectacular (Darlingey and Mirchi in particular). Devi Sri Prasad seems to know his audience, and the crowd response to the songs was great. The choreographers generally concentrate on the possibilities afforded by Prabhas’ lanky frame and enormous wingspan.

Despite what you may think based on that selection of images, Prabhas largely escaped the worst efforts of the blind costume designer, apart from one inexplicable t-shirt with braces attached. And there is an unwavering commitment to ugly acid wash denim throughout. But I do have to ask – the Keytar? Really design team? What were you thinking.

Mirchi is a good formulaic timepass. It has a good cast delivering the minimal requirements of the script, along with well structured action and song sequences. If you’re a fan of Prabhas or the mass action genre, it’s well worth a watch.  Plus  if you like medical moments only possible in Indian films, then this is for you.

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!

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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.

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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.

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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.

Billa (2009)

Billa is a remake of Billa (Tamil) which is a remake of an earlier Rajnikanth film of the same name which is a remake of the Amitabh Bachchan classic Don (Salim-Javed are credited for the original story). I’ve seen all of them, plus the more recent Hindi Don starring Shah Rukh, so I didn’t expect the unexpected and largely this is faithful to those predecessors. Meher Ramesh adheres to Telugu film conventions requiring happy endings and righteous heroes so there are a few changes. I enjoyed the total disregard of inconvenient logic and budgetary challenges. It is a modern, slick film with a dash of B movie and the spirit of making do for the sake of entertainment.

Prabhas plays the title role of Billa – a gangster with a puzzling penchant for black satin and three piece suits. In the tropics. No wonder he was always so irritable. The chafing must have been a nightmare.

Billa works for ‘Devil’ and seems to be a model employee. He is out to eliminate the competition and stay ahead of the law while selling arms, drugs and who knows what else to villains all over South-East Asia. He lives a luxurious lifestyle on his private island where he continues to overdress for the beach.

He is a cranky intolerant man, and Prabhas does well to be so unlikeable and dour. I did like Billa’s catchphrase ‘Trust no one. Kill anyone. Be only one”. It was a bit reminiscent of Highlander.

The English dialogues were often very funny though I am not sure the level of cliché was intended.  The subtitle team made their mark too.

 

 

 

 

 

 

 

 

 

 

 

Prabhas also plays Ranga – a naive thief and layabout who has a heart of gold. Ranga is Billa’s duplicate and when Billa is out of circulation, the police use Ranga to infiltrate the gang. This role is a better fit for Prabhas as his likeable goofy side is given more rein and he is more expressive.

Ranga is sympathetic without being overly complex. Prabhas gets an opportunity to play up the confusion as Ranga impersonates Billa but his characterisations are so broad that there is no ambiguity at all.

Ranga has a far more colourful inner life than Billa, so that allowed for some variation in the song treatments.

Subbaraju makes an all too short appearance as Vikram, the gang member who tries to leave Billa for love.

Once I realised he was marked for death I was a bit sad. But I cheered up when Hansika (his love interest) was hit by a truck. Seriously – casting Hansika for the role requiring a seductive dance? What were they thinking? Her costumes don’t help; a floor length evening dress (for clubbing, of course) is replaced with cut-off denim shorts and an oversized jumper. It was all quite daft and compared to Helen … well. Say no more.

Vikram’s sister Maya (Anushka) goes undercover to avenge her brother and his flattened fiancée.

Anushka is not exactly wasted in this role but despite being a strong personality, Maya is not all that integral to the action. The swimming pool has a more important role as it is the means of getting the heroines into their skimpiest outfits. Maya vies with Lisa (Namitha) for Billa’s attention and there is more chemistry, albeit toxic, between the ladies than there is with the hero.

I liked that Lisa was allowed to fight to get rid of her competition, and surprised to see that her repertoire included a fencing bout.

The action scenes by Stun Siva (what a great name!) are a blend of impressive fight choreography and some quite lame stunts. I could see the inspiration for a few scenes was directly lifted from Farhan Akhtar’s Don (2006) but it felt as though they got to the location, realised they didn’t have the budget or know-how and just went for it anyway. Prabhas seemed much more at home in the high adrenalin action scenes than with the dialogues he was given as Billa. The action scenes are sometimes quite creative.

Every good hero/anti-hero needs a good villain and Kelly Dorjee’s character Rashid is flamboyant and slightly unhinged. Krishnamraju (Prabhas’ uncle) is the dedicated policeman after Billa, and gives a nicely balanced performance. Adithya is a cop under suspicion of collaborating with the baddies and is effective and understated. Rehman is Dharmendra, the Interpol agent in charge of hunting down Billa. The supporting gang members are a mixed bag, including Supreet as Ranjith, Billa’s 2IC. Ali has a significant role that is not a comedy distraction. He is a good character actor so I wish he would do more roles that contribute to the story instead of distracting from it.

The music by Mani Sharma is disappointing despite being closely linked to the drama. It was all quite uninspired and only the performers and costumes made any of the picturisations very memorable. Anushka isn’t a very enthusiastic or accomplished dancer so I found the work-arounds in this clip quite amusing.

The costume designers had a fine time and the look developed for Billa and gang was quite consistent and fitted the overall visual flavour.

Namitha and Anushka seemed to have clothes designed by a 20 year old boy with raging hormones but they wore it all well. I have to say that if I am to be afflicted with half naked skanks swanning around, it is nice to see more curvy and natural shapes than a stick insect with implants. But was it necessary? What do you think. To be fair, there was a lot of shirtless Prabhas on display so there was almost equal opportunity for eye candy regardless of your interest.

 

 

 

 

 

 

 

 

 

 

 

Quite apart from the endless parade of shiny suits, I lost count of the montages of sour-faced Billa flexing and/or staring enigmatically.

I found Billa very entertaining. I pretty much knew where the story was going, but I liked the spirited and fast paced dash through all the shenanigans. Prabhas is in good form, the support cast do well with their material and the film looks great. It was a fun timepass and watching it again recently, I enjoyed it all over again. 3 ½ stars!

Heather says: Faran Aktar’s  Don is one of my favourite Hindi films which may be one of the reasons why I couldn’t appreciate this Telugu version. The opening scenes where Billa does his stuff as the king-pin of the drug organisation were painful to watch as the actors indulged in some of the most stilted acting and dialogue delivery that I’ve ever seen. Billa’s English phrases, in particular his ‘Can, can’ were dreadful and made him sound like a total idiot, while it was hard to watch Prabhas impersonate a chunk of wood when he’s normally a much better actor. It wasn’t just the terrible direction in this section that didn’t work for me, since the stunts and effects were just as bad. It appeared as if Meher Ramesh thought that a film about gangsters needed plenty of fast cars, helicopters and motorbikes, which I agree is not a bad idea, but then couldn’t work out how to use them in the story. So we ended up with completely implausible situations which seemed contrived just so that another over the top stunt could be stuck into the screenplay. And for goodness sake, if Billa was trying to escape in a Ferrari there is no way that anyone would have been able to keep up!  Plus it’s not exactly the best car for an unobtrusive getaway, but I guess that really wasn’t the point. Thank heavens for Subbaraju who did help me get through the first few scenes, along with Hansika as a comedy side-plot, since I couldn’t do anything but laugh at her character.

The film picked up immensely once Prabhas was allowed to exert his natural charm as Ranga, and despite the continuing forays into pointless special effects it was much more entertaining. I enjoyed Ali’s role for a change, and Anuskha and the other supporting actors were all good enough to keep their characters interesting. I just wish Billa had been less of an escapee from a Goth fashion parade (clichéd model personality included) and more of a vicious but possibly more interesting killer. 2 ½ stars.