Jagadeka Veeruni Katha

Jagadeka Veeruni Katha

Jagadeka Veeruni Katha (1961) is a sumptuous fantasy drama directed and produced by K.V Reddy. It stars NTR with B Saroja Devi, L Vijayalakshmi, Jayanthi and Bala as the love interests, is loaded with songs and is beautiful to look at. It’s also around 3 hours long, clearly made for a time when a more meandering pace was appreciated.

Jagadeka-Veeruni-Katha-Pratap and parents

The plot can be loosely described as follows. Prince Pratap (NTR) defies his parents and leaves the kingdom in search of love. His dream women are the devakanyas who represent the elements of Air, Water, Fire and…Snakes. Indra Kumari (B Saroja Devi), Nagini (L Vijayalakshmi), Varuna Kumari (Jayanthi) and Agni Kumari (Bala) like to bathe in a decorative pond, gossiping and singing the day away. Pratap finds them, but in return for his unwanted attention Indra Kumari turns him into a statue. Pratap’s mother goes into devotional overdrive and Parvathi (Kannamba) answers her plea. Pratap is restored to his princely self and Parvathi gives him the tip-off that if he stole Indra Kumari’s clothes, she would be stranded on earth and have to marry him. Marriage duly accomplished, he sets off with new wife and newly acquired best friend Rendu Chintalu (Relangi) to a neighbouring kingdom.

Jagadeka-Veeruni-Katha-ThreesokananduJagadeka-Veeruni-Katha-Men in drag

Threesokanadu (Rajanala Kaleswara Rao) is a petulant brat of a ruler and wants whatever he can’t have, including Indra Kumari. Devising numerous ploys to send her husband off on missions to Nagalokam and elsewhere, all he succeeds in is getting the remaining devakanyas hitched to Pratap. I don’t know why he thought dressing in a saree would help his cause. Relangi and Ekasa (Girija) have a comedy subplot in which they thwart the king’s plans and generally bicker.

Jagadeka-Veeruni-Katha-hard times

Meanwhile, back in Pratap’s home his brother has conspired to overthrow the Maharaju and Maharani (Mukkamala Krishnamurthy and Rushyendramani), who are now living on the streets. Eventually they get wind of Pratap’s whereabouts and a tearful reunion is on the cards. The devakanyas trick their mother-in-law and get Indra Kumari’s saree back and leave for the heavens.

Jagadeka-Veeruni-Katha-wild with griefJagadeka-Veeruni-Katha-change of heart

Pratap goes wild with grief and the ladies seem to miss him too. Indra and the other lords of various heavens test Pratap and eventually he gets his wives back. Happy days.

Jagadeka-Veeruni-Katha-NTR and RelangiJagadeka-Veeruni-Katha-NTR and Saroja Devi

It’s NTR’s film from go to whoa and he could do this kind of role in his sleep. Pratap is the perfect prince and goes from swooning to swashbuckling in the blink of an eye. He gets all the big speeches and a couple of key songs, and NTR dominates all his scenes. He always has a nice rapport with Relangi, and I liked them together as they showed the more human side of Pratap with a bit of humour.  Relangi’s character gets to do some useful and sensible things in amongst all his comedy bumbling too.

B Saroja Devi is the leading lady and does get the majority of screen time, but her character is not really developed beyond being designated as a heavenly beauty. The warmth in her interactions with the other devakanyas, and her chemistry with NTR is largely drawn from her own performance and not the script as far as I could tell.

Jagadeka-Veeruni-Katha-Indra Kumari and NaginiJagadeka-Veeruni-Katha-Pratap and Indra Kumari

One of my favourite filmi dancers L Vijayalakshmi gets a little bit of dialogue and a few not very snakey dances, but the other wives are not given a lot to do in the story. They all look stunning in their sparkly costumes, and I found their scenes together more lively than the ones where they had to stand around simpering at Pratap.

Given the heavenly origins of the leading ladies and the divine interference by Parvathi, there is lots of scope for special effects and magical plot developments. The devakanyas all have distinctive modes of arriving at their bathing spot. Nagini turns into a snake when her mood sours.

And faced with the demands of multiple wives, Pratap is magically cloned so he can spend quality time with his spouses.

Comedy demons perform a range of useful services, including transforming into a flying divan. Pratap is changed at different times into a statue and a baby. Aside from Marcus Bartley’s stunning camerawork with his trademark moonlit scenes, I was struck yet again by the skilful use of the limited 1960s technology to create some really effective illusions. There’s nothing that would fool today’s CGI savvy audience, but the sequences are creative and are perfect for the fable of a prince on a quest.

Jagadeka-Veeruni-Katha-lifelike rag doll 1Jagadeka-Veeruni-Katha-lifelike rag doll 2

Except maybe not the rag doll dummy used in some fight scenes.

The music by Pendyala Nageswara Rao is lovely and it feels like someone breaks into song every few minutes. The only character who does much by way of dancing is L Vijayalakshmi as Nagini. When Pratap arrives in her kingdom, this is how he is greeted.

And there are some lovely duets as well as more devotional songs.

The set design is lavish with all the intricate decorative motifs I’ve come to expect from this era and genre, including fabulous animal themed furniture and fittings. Plus some excellent work from the hat department. The film is available without subs on YouTube. I’ve also managed to track down an unsubtitled VCD, but the picture quality is poor. I can only imagine what it might have been like with a decent print and sound. Really Telugu film industry – get your act together and do something about these classics!

Considering so many things happen in this film, it’s almost remarkable how few of the incidents are essential to the plot. But if you can spare the time for a rambling adventure with a charming cast, gorgeous music, and beautiful visual design this is a sheer pleasure. 4 stars! (A small deduction for general crappiness of the print, irritatingly big watermark on that crappy print, and because comedy demons are to fantasy films what comedy uncles are to modern movies – a plague and a pox.)

Desamuduru (2007)

Desamuduru

There are a number of reasons why I love this film, although they can be summed up easily as plenty of Allu Arjun and dancing! A lot of work has gone into showing off Bunny’s six-pack throughout the film, and I definitely approve.  In addition, there are some great fight scenes (where Bunny follows the Salman Khan principle of removing your shirt wherever possible), Cinema Chaat favourites Ajay and Subbaraju appear as villains, and it’s one of the very few films where Hansika doesn’t irritate me to the point of switching off.  And there is of course this:

Don’t be put off by the picture – there is nothing of Ali in this clip!

The appeal of Desamuduru definitely lies with the cast and their energetic performances rather than a good storyline or even well-written and believable characters – because it doesn’t have either of those.  Desamuduru was Puri Jannaadh’s follow-up to Pokiri, and perhaps after such an exceptional effort, he just ran out of new ideas.  The plot is paper thin and the story follows a well-used formula without anything novel in the execution.  Perhaps as compensation, the director ups the pace, meaning that the lack of a storyline tends to vanish in the constant confusion of fight scenes and action shots.  At least the high energy ensures that Desamuduru has mass appeal, even if it doesn’t rise to the dizzy heights of Pokiri.

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Bunny’s Bala Govind is an arrogant young TV reporter working for his father on the crime beat with Maa TV.  He has a basic idea of what is wrong and right – for instance, killing people is wrong.

Desamuduru

But beating them up within an inch of their lives is apparently perfectly OK.

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Some of the detail in these scenes is excellent – I love how the drunk pulls his bottle of booze out of harm’s way, and how Bunny’s shirt slowly rips as he flexes his muscles – classic!

Bala’s latest altercation ends up with Murugan (Subbaraju) in hospital and Bala under threat from Murugan’s father and local gang boss Tambi Durai (Pradeep Rawat).  Bala however escapes to film a travel program in Kulu Manali – a little bit of a change from crime reporting, but apparently travel is where Bala feels he has his calling. Anyway, swapping the mean streets of Hyderabad for the mountains of Himachal Pradesh seems perfectly reasonable, especially when there is a gang of Tamil thugs baying for blood as incentive.  Plus it means we get this song along with a backdrop of snow-clad hills and slightly bemused looking locals.

Bala has a traditional Telugu approach to love – see, instantly fall head over heels, stalk and wear the girl down until you can convince her to marry you.  Sigh.  This time the unwilling heroine is Vaishali (Hansika Motwani) who is a Sanyasin and appears completely uninterested in Bala despite his total belief in his own irresistibility. The rest of the word sees Vaishali as a demure and quiet Sanyasin, but this is how Bala see her, which seriously makes me question his fashion sense even in fantasy dance sequence land.

Hansika is surprisingly OK here in a role that doesn’t require her to do very much.  I didn’t particularly  like or dislike her the first time I saw this film, but compared to subsequent appearances I think this is one of her better performances.  She looks suitably demure at the beginning as a Sanyasin and manages to bop around reasonably convincingly in the songs.  Later on in the second half when the romance quotient is reduced to almost zero, she continues to hang in there, and acts appropriately wimpy in the subsequent fight scenes.

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There isn’t a lot of chemistry between her and Bunny, but some of that is down to the plot, particularly since no sooner does Vaishali declare her love than the film switches back to action and fight scenes rather than playing up the romance.  At least that is until we get to the ultimate fan-girl song in Manusuley.  Even the song’s similarity to Dil Se helps bump up the heat factor and when you add in Allu Arjun drenched in litres of oil smouldering at the camera it definitely reaches sizzling hot! Except I tend to think: all that sand with all that oil – ouch!

Bunny at least seems to be thoroughly enjoying himself throughout.  He looks very happy to be surrounded by a bevy of beautiful girls in the songs, and in a number of the scenes with Subbaraju and Ajay I’m convinced that they ended up ROFL most of the time.  It’s one of my favourite things about Bunny that he seems to be perpetually about to crack up, so I end up smiling every time – even if it’s totally inappropriate.

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There is a tedious comedy track involving Ali which starts out bad and just gets worse as it goes along, but thankfully that’s it for comedy uncles.  Much better is the comedy provided by the altercations between Subbaraju and Bunny, and the histrionics provided by Telangana Shakuntala as Murugan’s evil mother.  Jeeva also does his evil henchman sidekick while Ajay is excellent as a thug who cannot talk and adds both to the mayhem and the comedy in equal measure.  It all adds up to a lot of this – Reeey!!

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A number of the fight and chase sequences are excellent with some good choreography and wire work,  and it’s just a shame that they aren’t connected together by a better storyline.  There is of course the obligatory item number featuring Rambha which pops up at an odd time and doesn’t add anything at all to the film, but it’s a least one more opportunity to watch Bunny dance.

Desamuduru is a hodge-podge of a film which relies on a charismatic cast, fast action (and even faster dance moves), along with the appeal of beautiful scenery in Manali .  It’s a film I watch over and over again, just for the songs and Allu Arjun’s dancing.  Not just for those shirtless scenes – of course not! It’s not a film for everyone but if you can leave your brain at the door and just sit back for the ride there is plenty to entertain – although judicious use of the FF button makes it even more enjoyable.  Desamuduru gets 2½ stars for story and execution, but 5 stars for enjoyment and re-watch potential!

DesamuduruIt sure is!

The Thieves (2012)

The-Thieves-Poster

Boasting a large ensemble of established and popular stars, and making use of locations in South Korea, Hong Kong and Macau, Choi Dong Hoon’s The Thieves is often spectacular. The plot is packed with incidents and conflicts, twists and turns, rarely lagging before hitting the next mark.  I was glad to see this as part of the 2013 Korean Film Festival as the action is best appreciated on a big screen. (Sidenote: Melbourne is fortunate to have so many excellent film festivals and I like to get along to support them. The Korean festival is brilliant – a small but interesting program and very well organised, with lots of extra events around the films)

Things start to heat up when Macao Park (Kim Yoon Seok) assembles a team of ten thieves to steal a legendary diamond. The Korean thieves know each other, as do the Chinese members, but they’ve never worked together. There is open conflict, and hidden resentments and betrayals. Once the pressure is on, who will stick to the plan and who will look out for themselves? Maybe they don’t know each other as well as they think.

The-Thieves-Team ChinaThe-Thieves-Miracles

The Korean team consists of the leader Popie (pronounced Popeye) (Lee Jung Jae), cat burglar and wire expert Yennicall (Jeon Ji Hyun aka Gianna Jun), technical assistant and token cute boy Zampano (Kim Soo Hyun) and middle aged con artist Chewing Gum (Kim Hae Sook). They are joined by safecracker Pepsee (Kim Hye Soo), just released from jail after a gold heist gone wrong. Her partners in that gig were Macao Park and Popie. In China, Macao Park recruits veteran Chen (Simon Yam) and his sidekicks Jonny (Derek Tsang) and Andrew (Oh Dal Soo) plus another safecracker, Julie (Angelica Lee). The game is afoot!

The characters are clearly defined in terms of type (competent, eye candy, comedy fodder etc.) from the start but the personalities and history emerge throughout the course of the action. Personal and professional rivalries bubble to the surface, and almost everyone has their own agenda.  Often in this kind of film the nuances of characterisation are missing or overshadowed by the action. I was pleasantly surprised by the female characters, most of whom were more developed and complex than the guys. There is some romance between thieves, but not always what you might expect, and it doesn’t seem to distract the ladies from the task at hand.

The-Thieves-Yennicall at workThe-Thieves-Pepsee and Yenni

Jeon Ji Hyun is lots of fun as Yenni. One minute she is trading on her beauty, the next she could be doing a dorky victory dance or coolly rappelling down a skyscraper. Yennicall is often the butt of jokes but she is not as dumb as some might like to think. She just concentrates on what works for her. And Yenni is not just the token hot chick, she is a skilled thief with fairly good instincts even if she does seem a bit dim. Zampano has a crush on her and they have an oddly sweet relationship. She knows he is into her, she is out for herself, but they are friends and colleagues. Her rapport with Chewing Gum and her vague jealousy of Pepsee are well played. It’s a nice performance as Jeon Ji Hyun doesn’t mind playing against her glamour girl image and has good comic timing.

Pepsee and Julie are extremely competent and each has a strong back story that informs their present choices.  Kim Hye Soo gives Pepsee a tough façade over a wounded heart. Angelica Lee is all business and Julie’s sharp eyes rarely miss a trick. They are very different from each other on some levels, and I appreciated seeing diverse strong women in the story. Their rivalry is on a professional level, it has nothing to do with any of the men in the team. They can respect each other but that won’t get in the way of what needs to be done.

The-Thieves-PopieThe-Thieves-questions

Lee Jung Jae plays Popie with almost teenage angst. He wants to be taken seriously, to be the leader, he wants Pepsee to forget Macao Park and why doesn’t she love him instead. It’s a well-judged performance as while some of Popie’s actions and dialogue are incredibly silly, he plays a major part in what happens so needs to be credible. And I appreciated the stick on moustache which no one ever believed was real.

The-Thieves-the handoverThe-Thieves-Macao Park

It’s a long wait to find out what drives Macao Park and exactly how his relationship with Pepsee went sour. The character is a brilliant strategist and thief, and he stays cool in the most trying of situations. That makes him less relatable and human and consequently I was a bit less invested in his situation than I was in the other team members. Kim Yoon Seok does well in the scenes where he can show some of the complexity and emotion under that calm surface, and he underplays most scenes to great effect.  He also gets the best and most explosive action sequence of the film culminating in a vertiginous fight on cables down the side of an apartment building.

The-Thieves-Aerial 1The-Thieves-Aerial 2

In between marvelling at the camera and wire work I was a bit distracted by the ease with which so many airconditioning units were dislodged. Maybe they don’t get really big pigeons in Busan.

The-Thieves-after the robberyThe-Thieves-Zampano and Yenni

Kim Soo Hyun is underutilised as Zampano, the guy on the other end of Yenni’s wire rig. He gets little to do, but makes the best of his limited role and some of his scenes with Yenni are charming. And of all the guys in the cast, the only one you’d really want to see shirtless is him, so that worked out well.

The-Thieves-Chewing Gum and Chen

Simon Yam and Kim Hae Sook stole the limelight when they were sharing their little corner of the subplot. I always like seeing secondary characters with a sense of purpose or dreams of their own, and Chen and Chewing Gum gave the story some welcome uncomplicated affection.

Apart from the main ensemble, there is a sizeable supporting cast. Ki Gook Seo and Ju Jin Mo stand out as the dangerous fence Wei Fong and the dogged policeman on the trail of…well, everyone.  All of the threads lead back to a couple of key factors so as things unfold, some of the peripheral characters move in or out of focus.

Choi Yeong Hwan makes great use of contrasts to set the mood with striking visuals and composition. The shady rooms and derelict factories where thieves do business are tucked away beneath the high gloss of Macau, with casinos doing the work of thieves in parting people from their money. You can almost taste the greed and aspiration. The action scenes are beautifully composed and edited, sometimes giving an aerial view of the moving parts ofa clever scheme and other times plunging into the action and confusion. In some scenes the film speed slows and speeds up to synch with the dramatic ebb and flow. Jang Yeong Gyoo’s soundtrack is perfect for this genre. Bouncy and brassy, sometimes even a bit funky, the music matches the pace and adrenalin of the action and visuals. It’s another very accomplished and confident effort from the team that made ‘Tazza: The High Rollers’.

The Thieves has so much going on that I am impressed the sense of urgency  and consequence was maintained even when the revelations were all out in the open. The blend of action, humour and drama is deft and the characters are well drawn. I enjoyed it immensely. 4 stars!