Babu Bangaram

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Maruthi has loaded the formulaic Babu Bangaram with lots of references and jokes that rely on Vekatesh’s earlier films and persona. But there are also some more fun and interesting supporting characters than you often get in a mass movie, and the silliness has a certain charm. And Venkatesh is just so likeable on screen that he gets away with it.

The film opens with a flashback. Ye Olden Venkatesh allows some whinging “Europeans” in a diverting selection of bad wigs to eat at his table, despite them being unwelcome in the country. He allows a pregnant woman to have surgery before himself despite being mid heart attack. So he dies a saint, revered as a truly unselfish man. Flash forward and Krishna (Venkatesh) is a policeman, with his grandfather’s soft heart as well as his looks. Indeed one of his subordinates calls him “the pity police”.

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After a hard day of beating up rowdies and then visiting them in hospital, Krishna is hanging out with his colleagues. He sees a woman in distress and is smitten by her integrity and her beauty, possibly in that order. Sailu (Nayanthara) is trying to keep her family together and financially viable in the absence of her father who is in hiding from crooked MLA Puchappa (Posani Krishna Murali) and his associate Mallesh Yadav (Sampath Raj). Krishna infiltrates her family in order to help solve her problem and to help himself find a wife.

Sailu sees through the machinations of her would be husband (Prudhviraj) and confronts him, making it clear that she is not interested nor is she stupid. She also says that Krishna has been helping her because of who he is and not because of an ulterior motive. Then she grabs Krishna by the wrist and drags him away. You go, girl! She’s a smart young woman, and her moments of annoyance, fear and anger are all quite proportionate to the stupidity and aggression of the men threatening her. When she finds that Krishna may not what seems she is equally firm in kicking him to the curb until he can prove his integrity.

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The film is most enjoyable when Krishna is off balance and trying to woo Sailu while also doing his job and being taunted by his friends. Once the cat and mouse game with the baddies becomes the focus in the second half, the story is more prosaic and by the numbers.

The Daggubati Dance Curse does manifest in Venkatesh, although I think it has hit peak (nadir?) with Rana. But in the final fight scene, is Maruthi really saying there are few things more frightening than Venkatesh in full dance mode? Brave. And maybe true. But funny nonetheless.

One of the things I always like about Venkatesh is that he works well in an ensemble, and seems quite generous in allowing the rest of the team to take some of the limelight. He has a nice rapport with Nayanthara and while the romance between Krishna and Sailu wasn’t one of sizzling chemistry, they seemed happy and compatible. The film revolves around Venkatesh and his film legacy and his is the titular Golden Boy. There are quotes and references to his earlier films that had the audience whooping and cheering, and even some I could catch. For example, Krishna constantly indicates his dismay and regret with a lilting “Ayyo Ayyo Ayayoooo”. There is also song dedicated to Venkatesh in which Venkatesh pays tribute to himself in a dance off with an energetic hijra. The action scenes are tailored to Krishna’s preference for minimal violence, which is also a kindly approach for a hero past his spring chicken years. More than anything, Venkatesh brings both solid acting and a sense of fun to the proceedings.

Nayanthara delivers a nicely judged performance. Sailu is annoyed by Krishna stalking her, but she starts to see that he may have his uses. Like carrying her groceries. Also she observes how he treats other people and that is a good indication he is a generous and kind man. Sailu had a filmi dilemma but a realistic approach to problem solving, and didn’t just rush into peril. I also liked that while Krishna believed he could give her a better life, she actually quite liked her life and just wanted the gang to leave her, her dad, and her sisters alone. She was articulate about boundaries and what was unacceptable behaviour. She was only a little bit too glam, and I liked her sensible but pretty wardrobe that mixed Indian and Western styles. Her pretend cello playing is abysmal though.

How many times have you wondered why the hero’s friends don’t tell him he’s delusional or suggest he may need to rethink his plans? Giridhar and Vennela Kishore are delightful as Krishna’s colleagues. Giridhar’s expressions are priceless and Vennela Kishore delivers his wry one-liners with a sense of glee, eyeballing Krishna to see how much more he could get away with. They still go along for the ride, but sometimes it seems they do that for their own amusement as much as because they are contractually obliged to be supportive.

All the usual suspects turn up in supporting roles. Despite the film having humour woven into the plot, comedy uncle Brahmi wedged himself into proceedings in a mercifully brief appearance as a dodgy magician. Sampath Raj and Posani Krishna Murali are over the top and yet I liked having criminals who had small, real world, achievable objectives. I don’t think the onsite violinists and guitarists were necessary, but all evil masterminds must have their Thing and it’s hard to build a good lair in a family home. Sampath Raj’s gang also has the best and most diverse collection of bad haircuts I’ve seen in ages.  And Brahmaji maintained an impressive level of anger at everything all the time.

Ghibran’s soundtrack leans a bit too much to the cheesy ballads, but he ticks all the required elements off. The song picturisations are also cheesy, sometimes in a good way. But the more up tempo songs work a bit better as they provide a different texture and contrast to the rest of the film.

This screening had subtitles, which makes life easier for me. And the subtitle team may also have been doing their bit for the drama. In one action scene Krishna lays into his foes, leaving them dripping with what they assume is blood. But it isn’t – he’s such a softie!- it’s pomegranate juice, as he had been thumping them with a bag of fruit. Not content with that the subs explained it as “promo granite”. Now that would have hurt!

This isn’t a great movie, but it’s more entertaining and a bit smarter in some aspects than I was expecting, especially in the first half. And for a mass action romance it is quite restrained in depictions of violence, and I laughed out loud a few times. It’s all nicely packaged for the Venkatesh fans, but even if you aren’t hardcore target audience you could do worse than watch this for a timepass.

 

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