Bujjigadu

bujjigadu-poster

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!

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.

Stalin (2006)

Stalin-Stalin Title

When people complain that Telugu film directors lack creativity and too many movies are remakes, I’d like them to consider Stalin. It takes a certain amount of vision to translate a film like Pay It Forward into mass Telugu style, and to cast Chiranjeevi in a role originally played by Haley Joel Osment. Nice one AR Murugadoss!

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Stalin (named by his Communist dad) is an ex-Army major, living with his Ma (Sharada) and passing time by doing good deeds and protecting the defenceless. It’s a typical altruistic hero role, with Stalin using his strength to look after the people. After a string of events that undermine his faith in humanity, he devises a scheme.

Stalin-Pay It ForwardStalin-the plan

Instead of accepting thanks he will ask anyone he helps to help another three people and tell them to pay it forward. In this way, the whole country will be incited to activism. It doesn’t seem to take off and Stalin is bitterly disappointed that people simply don’t do anything but make excuses. However, in the background the movement slowly gains momentum.

That is all the good message-y stuff but I said this was mass. Stalin also battles a corrupt politician (Pradeep Rawat) and his crazy father-in-law (Prakash Raj) and their assorted lackeys. He is pursued by Chitra (Trisha) and nagged about marriage by his mother while trying to patch up the relationship between his Ma and estranged sister Jhansi (Khushboo) who married a Punjabi dude against said mother’s wishes. Add in assassinations, explosions, amputations and ‘only in films’ medicine. Phew!

Stalin-Helping at collegeStalin-at college

The message is heavy handed yet I can’t argue with most of the sentiments. The catalyst for Stalin’s formal implementation of good deeds is the suicide of a young girl who had lost both arms in an accident. Due to a series of mishaps she had no one to write an exam for her, something Stalin would have done but he was helping a blind student at a chemistry prac. She asked so many people for help and none would, so in despair she jumped off the roof. It was a bit out of character for a girl who fought so hard to get her education, but it made a point. People are often not deliberately bad, just lazy and thoughtless. Initially despondent, Stalin is inspired by a group of disabled kids who stop a race to allow a boy to get back up and then all finish together.

Stalin-School raceStalin-who is disadvantaged

Stalin ponders why people who have so much give so little. I don’t subscribe to the idea of the ‘inspirationally disadvantaged’ as I think people are people and having a physical disability doesn’t necessarily make for a particular personality type or behaviour, nor is it guaranteed to turn everyone around that person into saints. But I couldn’t help responding to the big delighted smiles of the little boys and the performances by the two college girls. I think English language mainstream films tend to either glamourize or overlook people who are different and I liked seeing real people, not actresses pretending to be blind and so on.

One thing that irritates me is the filmi convention that insists ordinary people need a hero to lead them on all points. Stalin is offered a chance to go back into the Army only to have Gopi (Sunil) insist that ‘the people’ need him to inspire them to do good deeds. Why demand someone else be your role model when you already know what you should do? That laziness in films that sees entire rural communities under the thumb of a handful of drunk and not very bright rowdies, and entire neighbourhoods stand by and watch someone be maltreated is so frustrating, especially when its only purpose is to make the hero a HERO. And even more so in a film about people power.

Stalin-fight 2Stalin-Chiranjeevi

It’s an uncomfortable blend at times but Chiranjeevi’s apparent sincerity in the cheesy scenes and unswerving self-belief in the big chest-beating moments holds it all together. The fight scenes rely mostly on editing and effects as Stalin allows his enemies to come to him for a beating so suit the slightly more mature Megastar.

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For a do-gooder he uses threats liberally. But he did once singlehandedly overcome an enemy army emplacement so it would pay to listen.

I was initially a bit uncomfortable with Chiru and Trisha as a couple. Stalin’s backstory makes it clear he is a fair bit older than her. The songs are mostly Chitra’s fantasy point of view so it worked better than expected as the cavorting was not his idea. Anyway, it’s Chiru! Mani Sharma’s songs are fun and so are the picturisations, especially the traditional hero arrival number which also incorporates a call to donate organs, blood and eyes for the betterment of society.

And apart from anything else the songs give the costume department an outlet for their experimental urges.

Stalin-Chitra and StalinStalin-Chitra and Jhansi

Trisha is adequate but Chitra could have been played by almost anyone. Perhaps it would have been better to cast someone who could swim as Chitra was allegedly a swimming champion. I think she won a trophy for most ridiculous dive off the blocks and 10 metre dogpaddle with gratuitous appearance in a swimsuit. She is silly and self-centred, another of those mysterious film heroines who only have children as friends and don’t seem to do anything other than be the heroine. Chitra is friends with Stalin’s sister. Jhansi is a pleasant and capable woman who has a good career and a loving family. Once Supreet and his rowdies start targeting people close to Stalin, personal strength goes out the window as all the ladies need him to set things to rights.

Stalin-SharadaStalin-wedding planning

Sharada is great as the widowed mother who seems to have raised the kids alone. She is fiercely proud of Stalin and equally strong in her rejection of Jhansi who married an outsider. Some of her scenes are broad comedy, as she schemes with the dodgy priest (Brahmi) to marry Stalin off to a beautiful girl, any beautiful girl. I’d often wondered about the thinking behind ‘I Wanna Spiderman’ and it turns out a comedy uncle is to blame. This is Brahmi’s fantasy which perhaps explains the costumes. Or not.

Stalin-Prakash Raj

Prakash Raj is excellent as Muddu Krishnayya, a self-described Jekyll and Hyde. Even when Muddu Krishnayya starts to really lose his marbles he stays on task, although he does over-explain his plans which diminishes the likelihood of success.

Stalin-SupreetStalin-totally understandable

The support cast is familiar in faces and functions. Subbaraju makes a fleeting appearance as a creepy rapey guy, literally flying across screen following a heroic punch never to be seen again. Supreet does the villainous heavy lifting, earning an excellent comeuppance at Stalin’s hands. Mukesh Rishi and Brahmaji are Stalin’s Army comrades who come to help save the day when Stalin is under siege. Harsha Vardhan and Sunil are Stalin’s main comedy sidekicks. Everyone does their thing and does it pretty well.

This is not exactly a family friendly film due to the violence, but it is not as empty as many mass films are since all the biffo and mayhem is for the good of Society. The story ends on a high note but getting there took some doing. It’s worth a watch for late career Chiru still in full possession of his famed charisma, and for the curiosity value of the loose remake. 3 stars!

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Athidhi

I liked this film the first time I saw it, but rewatching for this review it didn’t make quite the same impact.  However I still enjoyed the Mahesh/Amrita Rao combination and both actors do what they can in what’s essentially an over-blown and excessively dramatic story.  There isn’t too much comedy which makes it a little more appealing, and although it’s fairly dark and quite violent in parts, it’s all much too over the top to take seriously.  There is good chemistry between the lead pair and a suitably maniacal villain who refers to himself in the third person but be prepared for a lot of fake blood (even some that’s CGI), plenty of gunfights and a number of plots points that require major suspension of disbelief.

The film starts with some cute child actors who play the young Mahesh and Amrita.  Chhotu is an orphan who gets the fairly standard ‘Indian filmi orphan abuse’ from all and sundry while still managing to have ideals and a reasonable wardrobe.  One day while selling balloons, he gives one to a young girl leaving school even though she hasn’t got any money but promises to pay him the next day. Later, she gives him an umbrella which makes a big impression since it seems no-one has ever given Chhotu anything before.  After he stops their car and warns the young Amrita’s parents about a wash-out in the road ahead, they decide to take him home and begin to adopt him into their family.

They give the young boy the name Athidhi as he is their ‘guest’, but when the parents are gunned down by a psychotic thief one night, it’s Athidhi who gets the blame for the double murder.  Because of course that makes sense!

Athidhi is sentenced to 13 years in jail, and after his release devotes his time to finding the real killer. He’s also determined to find Amrita and make sure she’s happy but is hampered in both his endeavours by a major lack of information about both the identity of the murderer and the location of Amrita.  On the plus side he does have a picture of the killer since the thief left a wallet containing his photograph behind at the scene of the crime, but there are no other clues.  In between popping in and out of jail for his hooligan-like tendencies, beating up various thugs and trying to track down a killer, Athidhi manages to find time to run a coffee shop near the Red Fort, although he doesn’t seem to actually spend much time there.

Mahesh has a different look here with long floppy hair and seems to be permanently standing in the path of a wind machine dialled up to max.  Unless he’s in the rain that is, which does vastly improve the hair.  The overall effect is to make him even more baby-faced than usual and there are even a few dialogues which make reference to his innocent appearance.  But we know better.

And it doesn’t take long – the first fight scene comes after straight after Athidhi is released from jail again, and has Ganni (Subbaraju) and his gang as the recipients of some fairly typical Mahesh mayhem.  That leads straight into the first song, which seems to have been heavily inspired by Mad Max and features some fight style choreography which didn’t appeal at first but it’s grown on me.

Meanwhile the young Amrita has grown up to be Amrita Rao, studying art at college in Delhi and generally seems fairly content.  She’s polite and well-mannered on the outside, but inside her own mind is much feistier and has moments of fantasy where she imagines herself as a Matrix-style super-woman.  However her inner hero gets her into trouble when she takes on a gang of drug dealers who chase her into the path of an oncoming vehicle.  In the aftermath Athidhi performs some lifesaving mouth to mouth, although not quite in the approved St John’s Ambulance style, and as an afterthought he also beats up the drug dealers.  Amrita is pretty happy about the whole experience despite her near death and stalks Athidhi since after all we know that’s the way to show true love – right?

There’s a long and fairly pointless sequence with the dreadfully styled and characterised Danny Bhai (Ashish Vidyarthi) and eventually Athidhi finds out that Amrita is the girl he knew as a child.  But she’s already left for Hyderabad where she lives with the home minister (Nasser) and his family who are her aunt and uncle.  So the action moves to Hyderabad where Athidhi foils various plots to kill Amrita and her cousin Aishwarya (Baby Anni), including one by Danny Bhai that leads to Athidhi discovering the identity of the man who killed Amrita’s parents.  And as chance would have it, Hyderabad is being terrorised by this same killer, who now goes by the name of Khaizer and is running a child kidnapping ring.  To add more murk to the mix, Special Officer Ajit Shastri (Murli Sharma) has been brought in from Delhi to catch the gang and making sure he doesn’t succeed, Kota Srinivasa Rao does his usual corrupt politician thing.

So, will Amrita discover who Athdhi really is, will Athdhi discover who Khaizer really is, and will somebody finally cut Athidhi’s increasingly bouffy layered hair?!  It takes another couple of hours and quite a few twists and turns until we finally realise that no-one is ever going to successfully wield scissors anywhere near Mahesh. Oh, and there is finally resolution  to the rest of the plot too.

The story does have some good points but each is strung out for so long that the whole film drags.  It could easily have been cut by at least half an hour which would have made it a tighter and more thrilling movie.  The plot twists are good, although derivative, but again take far too long to reveal, and the final climax is marred by some bad CGI effects.  Although there is plenty of action it’s mostly gun fights which are less satisfying to watch.  The fight scenes, while often well-choreographed by Stun Shiva, are interrupted by too much slo-mo which really just reveals that no-one actually ever does hit anyone.  The lighting is really variable as sometimes it was excellent, for example at a number of scenes at the Red Fort, and yet at other times everyone appeared to have lizard skin and jaundice.  I’m sure the effect was meant to be very stylish but instead it just looked like the levels were completely wrong.  Brahmi, Sunil and Venu Madhav appear for some short comedy scenes but otherwise it’s fairly relentless death and destruction.

The music by Mani Sharma is catchy and I really like the soundtrack, but the picturisations don’t work very well and the songs appear oddly inserted into the narrative.  Malaika Arora pops up in a typically sleazy item song and the choreography generally seems under par for a Mahesh film – especially with someone like Amrita Rao who can dance. This song features an even more multilayered than usual Mahesh (plus the hair – which by this stage even features in the choreography), while someone in the costume department obviously had a grudge against Amrita.  It’s a good song though, and I enjoy watching the reactions of people in the background as they stop and stare.

While I think there is more here than just a film for Mahesh fans it’s probably best to watch with the remote to FF past some of the interminably long expositions by the villain. Generally performances are good but the film is let down by the mish-mash of a story and lack of editing.  I still give it 3 stars though, mainly for Mahesh and Amrita and for the bonus presence of both Subbaraju and Ajay  which always boosts any film for me!

Oy!

I’m a sucker for movies with romance storylines in Telugu films and as a result I’ve watched, and generally enjoyed, most of Siddharth’s films. He’s always good as a romantic hero although he has a tendency to be rather too chirpy at times, and I would really like to see him in some more serious roles. Although I don’t think that ‘Oy!’ is Siddharth’s best film, it’s one where I think he gives a more restrained performance than usual and as a result his character appears more appealing and likeable.

Director Anand Ranga mentions Eric Segals 1970 film Love Story as some of his inspiration during the opening credits, which gives us a clue that the romance is not going to end well. However Oy! is more upbeat than the original, and there is plenty of comedy between the two leads making it less of a tear-jerker.

The story starts by introducing the two main characters, showing them as very different people who lead very different lives. Uday (Siddharth) lives for the moment believing that life is short and must be enjoyed. Sandhya (Shamili) on the other hand thinks in the long-term and likes to plan well ahead. She doesn’t want to rush into anything and takes her time to make well-considered decisions. They also come from very different backgrounds as demonstrated by their modes of transportation.

To my delight, Uday’s introduction takes place via a song filmed in Melbourne, and eagle-eyed viewers will be able to spot a few locations which turned up in Orange more recently. I can’t believe I missed them filming this one though.

He does have it right about Melbourne!

Uday and Sandhya meet by chance in a club where Uday is celebrating his birthday which just happens to fall on New Year’s Day. He’s intrigued that Sandhya is sitting writing in her diary all alone in a bar but she really doesn’t want anything to do with him. To his initial conversation starters Sandhya points out that they don’t match as far as numerology goes, so it’s Happy New Year, Happy Birthday and Good-Bye. Alarm bells should immediately have started ringing at this point, but Uday is made of stronger stuff and immediately sets out to track her down with the aid of his friend Fatso (Krishnudo). Enquires around her neighbourhood also show Sandhya as a rather prickly character with no time for celebrations or religious festivals although she regularly fasts and is addicted to astrology, numerology and the like. So possibly not the best match for a party loving guy like Uday who enjoys the good things in life?

Uday’s father is a rich industrialist but as Sandhya hates rich people Uday doesn’t want to tell her about his background. Instead he pretends to need a place to stay just as Sandhya needs money to pay off a loan she has on her house and advertises for a lodger. From here the romance between the two blossoms as Uday sets out to charm Sandhya and convince her that she loves him too. This part of the film works well for me and I like the way the developing relationship between the two is portrayed.

However I do have a problem with the story from this point. Despite Uday proclaiming his love for Sandhya and asking her to accept him as her lifelong birthday gift, he still doesn’t come clean and tell her who he really is. This lack of honesty at a crucial point is a jarring note in the whole romance plot and isn’t helped as Uday continues to keep his real life secret. To add to this deception, Uday finds out that Sandhya has a life threatening illness and decides to keep it from her. Not just Uday, but also Sandhya’s doctors decide that she really doesn’t need to know that she is going to die in a few months. This does follow the plot of Love Story, but it was irritating then and just as nonsensical here. The idea of not telling someone they are going to die because you love them so much that you cannot bear to make their last moments unhappy is ridiculous. It is pure selfishness, a reluctance to deal with the reality of the situation and not love at all. Just as infuriating is that when Sandhya finds out she’s not even annoyed, but actually thanks Uday for making her last few months some of the happiest she has ever known! I wouldn’t have a problem at all with him taking her to places she wants to go, and making sure she gets to fulfil her wish-list if he’d only told her why he was doing it. This makes the whole second half of the film less enjoyable, although the trip to Kasi to immerse Sandhya’s parents and grandparents ashes in the Ganges could otherwise have been an interesting journey. There are still some excellent scenes in the second half though, and I love the crowd reaction when they go to see a Pawan Kalyan film on the first day, first show. As you can see it’s almost as good as the audience in Melbourne!

There is a separate comedy subplot which involves Sunil as an insurance salesman which ultimately forms the basis for why Uday and Sandhya discover she is ill. I usually like Sunil but apart from his initial scenes his comedy is rather laboured here. There is more unnecessary comedy on the boat involving Ali and Master Bharath which is best avoided. Really, the best comedy is in the romance between the two leads as Uday tries to conform to Sandhya’s list of the qualities she is looking for in a husband. Sandhya is a big fan of lists and seems to have one for every occasion.

What makes this film worth a watch for me are the performances from Siddharth and Shamili. The love story between the two is sweet and I like Uday’s happy approach to life in general. Siddharth manages to be cheerful without being manic and this more muted version of his typical happy-go-lucky persona is more realistic and easier to like. Shamili is good in her ‘girl next door’ role and the lack of glamour in her outfits is refreshing. Although she doesn’t have a lot of scope within her role, her change in personality isn’t too laboured and does seem fairly natural. Neither Siddharth or Shamili are brilliant dancers, but they are both fun to watch and the upbeat soundtrack by Yuvan Shankar Raja is excellent.

Despite the issues I have with the story there is still a lot I do like about Oy! The film is well shot by cinematographer Vijay K Chakravathy, flows well and looks good with some beautiful locations including Sandhya’s fantastic house by the sea. It’s also lovely to see a different location especially when it ends up looking as well as Vizag does here. I really enjoy the first half of Oy and just wish the story could have taken a different direction in the second half. As a result it ends up being a 3 ½ star movie when it could have been much more.

Temple says:

Despite finding Anand Ranga to be pleasant, thoughtful and interesting in his interactions with folks on Twitter and in interviews, I find much of this film unpleasant and shallow. It is technically very well made and looks great but I have too many issues with the story.

I have to disagree with Heather on some counts. There is nothing likeable or appealing about the character of Uday, and Siddharth seemed to be playing another variation on his ‘rich kid in love’ roles. He sees Sandhya and decides he has to have her. After all, she is the ultimate novelty – a woman who isn’t interested in him. The rot sets in with his decision to move into her house under false pretences. Compared to other stalker love stories like Anand where Anand knows he will one day have to face the consequences of his dishonesty, or even Arya 2 where Arya is a total nutter and his stalking is shown as part of the madness, Uday has no qualms. He does it because he wants to and we are supposed to find that romantic. My biggest issue is with the treatment of Sandhya’s terminal illness. I’ve had the sad experience of watching loved ones die after battling an illness for some time, so this pushed my buttons. While everyone has a bucket list of things they would like to do one day, that list is often very different when a person is told they don’t have so many days ahead of them. Having Uday and the ‘medical’ personnel decide that Sandhya would be happier not knowing was just disgusting. It is selfish and shows a lack of empathy and respect. Sandhya is a woman who planned for everything, thought through all her options – and they denied her that. Shamili gives a good performance in a role that starts off reasonably well but quickly devolves into a device for making the hero look more desirable. It’s a shame as I liked the way her back story was gradually revealed and Sandhya became more likeable and sympathetic. There were some really nice scenes that showed their developing friendship and the growing relationship. But as this romance was built on lies and manipulation I couldn’t find it charming.

I agree with Heather that the songs and the locations are really lovely. But that isn’t enough. I give this 1 ½ stars, just for the songs (especially ‘Seheri’ which was filmed near my old office)  and the technical and visual aspects of the film.