Anjaan (2014)

Anjaan

Lingusamy has delivered some good action thrillers in the past, so teaming up with Suriya for this latest venture certainly sounded like a good move.  However Anjaan trundles along a fairly predictable path interspersed with a few too many fight sequences (as excellently choreographed as they are) and oddly placed flashbacks that disrupt the narrative flow.  The film is saved to some extent by good performances from the main leads – Suriya is effortlessly charismatic and instils life into his often routine character, while Samantha is cute and bubbly despite having to dance like a maniac.  Sound acting cannot completely compensate for a plot which, while frequently formulaic, fails to present a believable chain of events in a convincing way.   I also can’t see why it was necessary to set the film in Mumbai as it didn’t seem to have any relevance to the story, and the resultant dubbing of the Hindi actors is noticeably out of sync. Anjaan isn’t terrible but in comparison with other recent commercial films, it doesn’t come anywhere near the same standard of storytelling, and really should have been much better.

AnjaanAnjaan

The film starts with Krishna (Suriya) heading to Mumbai from Chennai to try and find his missing brother, Raju (also Suriya).  He’s armed with an elbow crutch and a laptop, but doesn’t seem to have much to go on apart from a handful of names and addresses which take him, along with comedy stalwart Soori as his reluctant taxi driver, to some very dodgy places.  It doesn’t take too long for Krishna to discover that his brother was a notorious gangster who revelled in the name Raju Bhai and after a few false steps he finally tracks down one of the gang members to find out more about his brother.  Baashka (Joe Malloori) is able to fill in the blanks and the film moves to flash-back mode to tell the story of Raju and his best buddy Chandru (Vidyut Jamwal).

Anjaan

There is never any explanation of how Raju Bhai and Chandru Bhai have gained their fearsome reputation or even any detail about their criminal activities, which is part of the problem with the rest of the story.  The big revenge plot which follows doesn’t have much credibility when there isn’t any solid foundation for the story and the other characters are too one-dimensional to impact.  Vidyut Jamwal was impressive in his previous roles as a villain but he’s just not on screen enough here to make much of a mark.  His Chandru appears to be borderline ASD with many obsessive behaviours and signs that he doesn’t communicate well with others – hard for Vidyut to make much impact when most of his role involved moody silences and brooding looks.  However he is excellent at these, and I just wish there had been more for him to get his teeth into here.  Luckily for Chandru he has Raju to deal with the rest of the world for him, and although Vidyut Jamwal and Suriya make a good ‘bhai’ pairing and appear to be on the cusp of some good chemistry, it never quite manages to get going before the camera whisks away to yet another fight scene.

Anjaan

Suriya totally rocks his casual gangster style and cool spiky hair.  He’s just as comfortable as a violent gangster as he is in the more cerebral role of Krishna.  He also has some good chemistry with Samantha at the beginning of their romance although this vanishes later in the film when Samantha is relegated to the usual Tamil heroine status, only appearing in the songs or as a damsel in distress.  Her opening scenes are good and I did have hope that she would have a chance to be more than just eye candy but in the end that seems to be the only reason for her inclusion.  Sadly she’s also short-changed in the wardrobe department for many of the songs and much of her choreography seem to be of the ‘dance like no-one is watching’ variety.  As if that wasn’t bad enough there is a particularly sleazy item song in the second half and a very unnecessary and totally unfunny appearance by Brahmi.  All very seem to be added in to fulfil the standard checklist for a commercial mass masala film, and all are completely superfluous to requirements.

Amjaan

The fight scenes, although excellently choreographed and filmed are also repetitive and strangely soul-less given that the supposed motive is revenge.  Manoj Bajpai is a bit of a nonentity as the smarmy villain of the piece Imran Bhai, while Murali Sharma and Chetan Hansraj are more effective in their negative roles.  Santosh Sivan’s cinematography at least makes the film look great but there are a few too many close-ups of Samantha’s coloured contact lenses for my liking – I really don’t need to see the printed iris pattern that clearly outside of my optometry practice!

Although Linguswamy seems to have checked his Big Masala Cook Book and added all the right ingredients he seems to have forgotten the seasoning and ends up with a bland dish that veers into tasteless all too often.  Suriya makes Anjaan worth a one time watch if you’re a fan, but by the end even he seems to be resigned to the monotonous gangs he has to beat his way through every 5 minutes.  For all Anjaan’s big budget effects and slickly packaged action scenes at the end of the day nothing can cover up the lack of a story or the absence of engaging dialogue, and that really says it all.

Anjaan

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Autonagar Surya

Autonagar Surya

Deva Katta’s Autonagar Surya doesn’t seem to know quite what it wants to be and as a result ends up as a disappointing muddle.  There are elements of a message film with the ‘one man against the system’ storyline, but at the same time the film attempts a broader social commentary while following a standard mass entertainer formula – including the obligatory romance and fight scenes.   There is little of the subtlety Deva Katta brought to Prasthanam and the additions of Brahmi and Venu Madhav with a woeful comedy track certainly don’t help.  After watching the more recent Manam, where Chaitanya displayed improved acting maturity, it’s disappointing to watch his uneven performance here, particularly since the film focuses heavily on his character. In fact the best performances come from the support cast, including Surya’s group of friends and the assorted thugs and villains, but despite their best efforts they’re not enough to make Autonagar Surya more than a one time watch.

Autonagar Surya

The film starts off well enough – if a little on the violent side.  After an initial parade and explosion, where Chaitanya’s Surya is blasted into the sky like a cheap rocket, there is a flashback to explain who he is and how he got to be a human firework.  The young Surya is orphaned when an obnoxious thug detrains his parents when they try to intervene in a rape.  Surya ends up being brought up by his uncle (Sai Kumar) who has little time for the orphan as he thoroughly disapproved of his parent’s marriage, and Surya moves in with the auto mechanic opposite.  Cut to a few years later where Surya has grown up to develop an interest in all things mechanical and demonstrates an accompanying bad fashion sense.  Although to be fair, so do his friends too.  So far so good then, until he gets on the wrong side of the local union boss and ends up in jail for murder.

Autonagar SuryaAutonagar SuryaAutonagar Surya

 

 

 

 

 

 

 

This turns out to have been a blessing in disguise, since while in jail Surya manages to study for a degree in engineering.  On his release, after a seemingly short time (5 years for murder?), he pressures his friends into helping him build a battery powered car.  However the union is still in power and worse still, his uncle is now the elected president and still has no time for his nephew (not his niece as suggested by the subtitles!).  However Surya has the hope of the downtrodden and a powerful vocabulary on his side.  With the help of his friends he decides to tackle the union thugs, but despite all his speechifying and rhetoric he basically employs their dubious tactics of fighting, kidnap and intimidation to achieve his aims.

Autonagar SuryaAutonagar Surya

 

Sticking to the formula, there is a romance between Surya and his uncle’s daughter Siri (Samantha).  Samantha looks beautiful and has a couple of good scenes where she gets to explore her comedic side, but mostly she has frustratingly little to do. The love story is really only an excuse for a couple of forgettable songs with dull choreography and is dealt the death knell by a distinct lack of chemistry between Chaitanya and Samantha.  They seem to be more like best mates rather than lovers, and that probably would have made a more believable storyline too.

Autonagar SuryaAutonagar Surya

There are many fight scenes, particularly in the second half, which tend to be on the grisly side with plenty of spouting blood and the odd limb or two flying around.  The graphic fights seem to be at odds with Surya’s more intellectual dialogue relating to the human condition and it just doesn’t add up that such a technical and generally rational genius should also be a competent and vicious fighter. Chaitanya also doesn’t quite look the part, as he seems too young, and just not angry enough to be the classic ‘angry young man’ that I think Deva Katta wants to portray. Generally there is an overall lack of passion which makes Surya’s revolutionary speeches and rabble rousing dialogues fall somewhat flat.  It’s so frustrating when Naga Chaitanya has demonstrated that he can be much better than this.  At least the union thugs all know exactly what they are doing and why, so the various atrocities carried out by the gang fit more easily into the mass formula.  Ajay is particularly effective as one of the main villains, and it’s good to see him in a more protracted role.  Jayaprakash Reddy is a little too subdued, but is otherwise fine and Madhu impresses as an exceptionally evil mayor.

Autonagar Surya

While the first half shows some interesting potential, the second half drags and shows Surya to be just as vindictive and violent as the thugs he is trying to replace.  The good ideas introduced at the beginning seem to be submerged beneath repetitive fights, numerous references to RGV’s Shiva, and oddly placed songs.  Maybe I expected too much from Deva Katta after Prasthanam, but Autonagar Surya doesn’t come close to his previous film, despite the good ideas at the start.  Overall Autonagar Surya is disappointing on many levels, although does warrant a look for the excellent support cast and some impressive sets.

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.

Theeya Velai Seiyyanum Kumaru

Theeya Velai Seiyyanum Kumaru

I’m really not a Hansika fan and tend to avoid her in movies as much as possible, but with nothing else releasing here this weekend I decided to risk it and headed out to watch the latest Sundar C. romantic comedy Theeya Velai Seiyyanum Kumaru.  Rather surprisingly I enjoyed it! Haniska wasn’t too annoying mainly due to limited time onscreen, the film made me laugh even without subtitles and judging by the audience reaction it was even funnier if you did understand the dialogue.  Siddharth and Santhanam make a good comedy team and with the help of a good support cast, the film turned out to be well worth the drive out to the bijou cinema at Monash.

Theeya Velai Seiyyanum Kumaru

The story is fairly straight-forward, easy to follow and doesn’t break any new ground.  Siddharth is Kumar, a bit of a nerd who works in an IT company where he’s essentially just another anonymous worker. At home he has a loving family who have a history of romantic marriages and seem to care for Kumar despite his generally apathetic attitude towards life. Although he works in an office full of women, Kumar doesn’t seem to have much interest in romance, but then the beautiful Sanjana (Hansika Motwani) starts working at the same company and suddenly Kumar falls in love.  Sanjana has to put up with the masses of frustrated IT workers falling at her feet, but seems to show a preference for office hero and all-round overachiever George (Ganesh Venkatraman). This could be the influence of a string ensemble and massive bouquet of flowers, but to be fair with his looks, success at work and dedication to romance, George really has a lot going for him.

Theeya Velai Seiyyanum KumaruTheeya Velai Seiyyanum Kumaru

Seeing that his affair is destined to fail unless he takes some kind of action, Kumar consults love guru Mokia (Santhanam) to try and help him win the girl of his dreams.  With Mokia’s help, Kumar learns how to ditch the glasses and nerdy attitude but also discovers that devious deception is the way to win a girl’s heart.  Having used Mokia’s often dodgy advice, Kumar gets the girl but discovers that using unscrupulous means doesn’t mean that he will be able to keep the girl, especially when Mokia discovers exactly who it is that Kumar has been chasing.

Santhanam and Siddharth

The real star of the film is Santhanam who keeps the laughs coming and makes an effective partnership with Siddharth.  This is a role that Siddharth has played before but he is less hyperactive than usual and his geeky Kumar is just realistic enough to garner some sympathy for his ineptness. Santhanam suits this type of comedy where his character doesn’t just rely on one-liners but rather uses some physical comedy and his facial expressions to good effect.  Although his love guru is strictly in it for the money he does still manage to make Kumar more presentable and increases his confidence levels despite his rather dubious methodology.  Quite an impressive effort given what he had to work with and his own style choices.

Theeya Velai Seiyyanum Kumaru

The support cast also add to the comedy and include a number of faces from TV including RJ Balaji and Bosskey who are both effective in their roles.  I don’t know the names of the actresses who played Sanjana’s friends at her lodgings, but they are good value and make the scenes with Hansika less excruciating to watch as well as having some genuinely funny moments of their own.  Manobala pops up as a brothel owner rather appropriately attired in red silk while Samantha and Vishal Krishna also make brief guest appearances.

Hansika doesn’t have a lot to do except look pretty and she actually does look much better than her last few films.  I’m not sure if she dubbed for herself in this film but her voice is rather screechy and irritating, although at least she doesn’t get a lot of dialogue.  Sundar C. has kept her role to a minimum and she is fine as the love interest, although there is minimal chemistry between her and Siddharth.

What doesn’t work so well though are the songs – the one above is probably the best of the bunch. All are pictured on Siddharth and Hansika and between Siddarth’s dreadful clothes and Hansika’s woeful dancing they really drag despite some pleasant locations. Hansika really can’t dance and to make her try to move in high heeled shoes and boots is just cruel, but somehow also quite amusing. In the pictures below you can see the high heels that she tries to dance in which perhaps goes some way to explain why she looks so stiff and inhibited.  There are times where it’s obvious she’s concentrating really hard on the steps, but that doesn’t seem to help and she looks very restrained compared to Siddharth.  Overall the choreography isn’t impressive and the backing dancers in Japan are particularly odd which adds to the overall disappointment.

Theeya Velai Seiyyanum KumaruTheeya Velai Seiyyanum KumaruTheeya Velai Seiyyanum Kumaru

If the songs are disappointing, at least the comedy is of a much higher quality and the cast do an excellent job of keeping the film from dragging.  Of course I noticed that Siddharth gets to wear some trendy glasses (as do quite a few of the cast) and there is a brief contact lens interlude which I appreciated. The humour is genuinely funny throughout and both Santhanam and Siddharth are engaging and work well to compliment each other.  Although the rest of the cast add to the comedy it’s all reasonably subtle (for Tamil comedy!) and best of all there are no terrible comedy uncles.   Overall Theeya Velai Seiyyanum Kumaru is a non-taxing and amusing watch which may not tread any new ground but does manage to entertain successfully.  And after all, that’s a lot more than I was expecting.