Saaho

I didn’t read any reviews before I went to see Saaho, but I’d seen comments on social media that were mostly negative. So I wasn’t expecting great things from the film, and perhaps that’s why I enjoyed it much more than I expected. Sure there are plenty of flaws, including a confusing story, poorly developed villains and far too many songs, but I loved the action, all the special effects and especially the imposing presence of Prabhas. Think standard Telegu Mass on VFX steroids, and that’s pretty much what you get with Saaho. Logic has never been high on the agenda for these kinds of films, not when directors can just blow up, beat up or shoot up everything in the hero’s path and writer/director Sujeeth follows he standard formula here. Nonsensical yes, but entertaining – definitely!

Let’s talk about the negative aspects first. The film opens with a confusing array of characters, not helped by long, complicated sentences of subtitles which vanished off the screen too quickly for me to read them. Then, the introduction scene for Prabhas is surprisingly poorly executed. Who is the man he is trying to rescue from a bad situation with a gang of thugs? There is some by-play about a whistling pressure cooker to give Prabhas a set time to carry out the rescue, but then there are no whistles – why set this up and then fail to deliver? And when this character reappears, his part in the finale is so rushed and poorly subtitled that I have no idea what exactly he was supposed to be doing. So, we’re off to a bad start, which is compounded by key events being rushed through and important characters appearing and disappearing without any clear idea of who they are and what role they play in the plot. It’s not helped by the subtitles which sometimes took me some time to work out and even with my bad Telugu I could tell that they missed a lot of information. The list of bad guys grows longer and longer, on top of which their alliances change, there are numerous double crosses and their relationships to each other are poorly described, so after a while the best idea is to stop trying to figure it out and just enjoy all the mayhem!

And the mayhem is what works very well here. This is where all the money was spent, and the result is slick and fast paced action with excellent fight scenes and lots of explosions. There are fast cars, motorbikes, even chase scenes with heavily armoured trucks and excavators but perhaps the most ridiculous involve men wearing mechanical flying suits and Prabhas carrying out some do-si-doing with a helicopter. At one point, at the end of a song, for no apparent reason there is a tank that drives over a couple of cars. It’s like they had a few thousands of dollars left and decided that adding a tank would complete the line-up of transport options! Throughout it all Prabhas is a tower of strength and stays true to the Telugu hero ‘code of conduct’ by endeavouring to single handedly take down all his enemies, be impervious to bullets, indestructible regardless of whether there are crashes, explosions or he leaps off a cliff without a parachute (more on that later), and of course still find time to romance the girl, talk tough and always, always look ultra-cool!

After the initial confusion the film settles down with Prabhas as an undercover cop who has been seconded to an investigation team after a series of burglaries in Mumbai. Amritha (Shraddha Kapoor) is the nominal female detective who is continually shunted aside by her boss Shinde (Prakash Belavadi), while tech specialist David (Murali Sharma) and Goswami (Vennela Kishore) round out the team. The police think they spot the thief (Neil Nitin Mukesh) on CCT and the team then devise a super complicated plan to bring him in. This involves convincing him to steal a ‘black box’ which is vital to open a vault full of money and gold in the gangster city of Waaji.

Waaji is a super high-tech city run by the Roy corporation headed by Narantak Roy (Jackie Shroff). After his assassination, Devraj (Chunky Pandey) is poised to take over the cartel when Roy’s previously hidden son, Vishwank (Arun Vijay) appears and thwarts his plans. The various cartel members are each trying to take over the top spot, but key lieutenant Kalki (Mandira Bedi) supports Vishwank, although his position is far from secure and he needs the black box to be able to pay off the various cartel members. The action moves to Waaji in the second half after the black box is stolen and Saaho (Prabhas) becomes involved in the power plays by Devraj and Vishwank.

Most of the Southern Indian actors play their usual kind of roles well here. Tinnu Anand is good as Devraj’s disabled father and Arun Vijay does well as Vishwank despite the dodgy writing while Supreeth and the cast of support thugs are suitably OTT. Mahesh Manjrekar has a reasonable role as one of the cartel members, but Madira Bedi is probably the best realised of these characters and I love her smooth operator approach to playing a gang member. The rest of the Hindi actors are a bit hit and miss. This might be more due to the language problem as they were better when speaking in English. Jackie Shroff is probably the best of the lot, possibly because he has only has a small role to play and little dialogue. Neil Nitin Mukesh seems uncomfortable throughout and Chunky Pandey desperately overacts every time he appears. To be fair, Shraddha Kapoor is pretty good in a more action-based role and she does have reasonable chemistry with Prabhas in their romance scenes. The problem is the songs, which don’t fit well into the narrative and don’t add anything to the story. This is an all action film, and the songs act as speed breakers, taking the audience out of the story. Probably the best is the Jacqueline Fernandez item number, which is just ridiculous enough to fit the plot, with the previously mentioned tank, machine guns, and lots of scantily glad women in a swimming pool.

Sujeeth however is equal opportunity in objectifying his stars, and Prabhas gets to jump off a cliff wearing nothing but ripped jeans, but only after he throws his parachute off the edge first. It’s that kind of film. Shraddha Kapoor actually comes off pretty well in the costume stakes, wearing generally sensible clothes, apart from in the songs. Prabhas looks uber-cool wearing cropped pants and trendy loafers once he gives up the denim and leather look of the first half.

Saaho is a fairly typical Telugu action hero film. The story doesn’t make a lot of sense and the cast of thousands list of characters is confusing, but there are some good ideas in there that would have worked better if they’d been kept simpler. Having lots of special effects doesn’t hide the limitations of the story, but it does make it fun to watch. I saw the Telugu version at a fairly full theatre in Melbourne, and most of the audience seemed to be enjoying the film as much as I was. We did all laugh at scenes that I think were supposed to be dramatic and tense, but there was plenty of applauding and cheering whenever Prabhas got to obliterate (literally!) the bad guys. All up, Saaho is simply entertaining and a fun piece of visual theatre. One for fans of Prabhas, mayhem and OTT mass action.

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Megastar Mega Mullet

I am often asked what I think is Chiranjeevi’s best hair era as well as when he hit peak mullet.

Note: I will exclude what I refer to as “character hair” – a hair style or wig worn purely to define a character or as a disguise. For example:

 

The Debutant

Back in the day when Chiranjeevi started out he was cast in supporting roles, often as a negative character. His glam hero days were yet to come, as was his stylish hero hair. Chiranjeevi’s late 70s hair was frankly unappealing – a long unstyled wavy bob with a side part. Perhaps it was part of his commitment to being a baddie. Perhaps.

1980

Punnami Nagu was the start of a hair transition from the long 70s sidesweep to a more structured hairstyle that would be versatile enough for office, romance, or revenge scenarios.

The 80s

The romantic hero who could have been a bad guy if he wasn’t so good. Chiru’s hair could go from good boy with a ruler straight side part to hair so furious it could have had its own dialogue. Magnificent. The late 80s is probably my favourite hair era.

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1991 – The Mullet appears

Rowdy Alludu and Gang Leader mark early appearances of the Mega Mullet. There is some extra length at the back and the top has some volume, although it is not consistent and the degree of loft does seem to be humidity affected in some roles.

1995 – Peak Mullet

You can see the mullet really developing through 1994, but 1995 is Peak Mega Mullet year. The hair has achieved volume, curl, the required length at the back and height at the front, almost a dionysus perm albeit sculpted into mullet form. It almost won’t fit in the same frame as Chiru.

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Late 90s-early Noughties

While Chiru maintained some volume in the ‘do, he never returned to the statement mullet of earlier years. Gradually his hair returned to a less voluminous and emphatic style with some similarity to the 80s good boy/bad boy look. He experimented with some colour, but I blame the era rather than the Megastar.

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2017

Returning to starring roles, Chiru opted for a sleek modern look with less pouf and sharper edges.

I look forward to the next stage in Chiru’s hair evolution, and I have no regrets about seeing the mullet left in the past.

 

Of course it is hard to get a sense of how magnificent the Mega Hair is from stills alone. Here is the playlist for Megabirthday 2019. See you next year!

 

Mechanic Alludu

There is nothing new in B. Gopal’s film, but we all know that Chiranjeevi and ANR are the drawcard.

Parvathi (Shubha) gives birth to a baby boy in the home of a stranger, Mahalakshmi (Sharada). She’s on the run from goon and soon afterwards she takes little Ravi and leaves town. Many years later Ravi (Chiranjeevi) ends up working for Jagannatham (Akkineni Nageshwara Rao) at his garage. He also pesters Jagannatham’s daughter Chitti (Vijayashanti) and of course, despite his appalling ideas of what constitutes “wooing”, she falls for him too. But there can be no mass film without birth secrets and fateful coincidence! Parvathi comes for the engagement and shock horror, she is Jagannatham’s estranged sister. And Ravi’s father is Bad News. It turns out that Ravi’s father Narayana framed Jagannatham for murder. So Ravi and Chitti both impersonate illegitimate children of Narayana and move into the big house to get their revenge. How will true love win? Was Brahmi necessary? Will Sharada come back at the end of the film to make a very important decision? Will Ravi reunite the good bits of the family?

It’s a good thing I could have answered all of those questions without seeing the film as I watched this on Youtube without subtitles. Subtlety and nuance would have been quite trying. And a big sarcastic thank you to people who add huge ugly watermarks to their video uploads.

Chiru is in his mass element here, but he doesn’t phone it in. He gets an excellent and surprisingly low key entrance via a bank of TV screens, but that quickly turns into Ravi being thrown through a window and into an adjoining body building gym for the fight part deux. He’s an atypical hero in some ways because the bad guys actually land a few punches. After being sacked for destroying his employer’s TV shop, Ravi saves Jagnnatham from a runaway car and scores himself a new job.

Chiru’s chemistry with ANR is delightful. It’s not often you see the Megastar consciously making room for his co-stars, or a co-star that takes it right up to the Megastar. Jagannatham spots Ravi moping, draped across his car bonnet, and decides to coach him in the ways of being a man – specifically drinking, dancing and romancing.

In the ebullient Guruva Guruva, you can see Chiru watching ANR, one of the original Telugu dancing heroes, and make small changes to his own timing and movement to keep in synch with his sprightly 70 year old partner. It’s always a bit disconcerting seeing fine actors with nothing much to do, but both deliver good solid performances despite the lacklustre material. Their scenes when Jagannatham refuses to accept Ravi have a bit of cheese and a bit of real pathos, as though neither could help themselves and had to add some quality emoting.

Poor Vijayashanti. Ravi’s approach to Chitti was of the treat them mean and they’ll find you irresistible school of thought. The same school that turned out generations of sex pests. Luckily Ravi is coached in the ways of over acting by Jagannatham. Although since Chitti was only written into the film to be his True Love and dance partner when ANR wasn’t available, did it make a real difference? Chitti does fight back in doomed attempts to free herself of Ravi’s presence, and those scenes at least give Vijayshanti something to do other than squeal and/or giggle. Once Chitti succumbs to Ravi’s advances, she is allowed into songs. She comes into her own for the dances although there she has to battle the wardrobe department.

I enjoyed the song picturisations a lot. They really play up to the Megastar image, as well as giving Chiru a range of choreographic and costume styles to showcase his charms. And he did solve the vexing question of how to manage many costume changes efficiently by having his backing dancers tear layer after layer of clothing off him.

The action scenes are varied. The intro fight incorporated a wide range of gym apparatus. I liked the longwinded rickshaw chase. Ravi fights on and off and under the rickshaw as the baddies keep coming and show how bad they are by not respecting a ma in mid cardiac arrest. Or maybe the quarry scene which kept me wondering “who, apart from antlions, buries themselves under a mound of gravel and waits for their prey to stroll by?” The comedy fight to impress Chitti was less delightful. I did kind of like the bit where Ravi throws Babji (Brahmi) on to a passing car to cause an accident. That’s a whole lot of confidence and a cavalier attitude to your friends on display right there. And I hope it hurt Brahmi as much as having to watch his shenanigans hurt me.

Apart from the usual comedy uncles (Ali is the least annoying), the supporting actors are underutilised. I got my hopes up when I saw Sharada in the opening scenes but she disappears until almost the end. She does play an important part in the final conflict but it wasn’t a satisfying role. Shubha is more present but also mostly silent. Satyanarayana and Kota Srinivasa Rao are the baddies, one calculative and one more bumbling.

See this for ANR with Chiru, and the songs. Everything else is OK but not amazing. 3 ½ stars!