Sahasam Swasaga Sagipo

sahasam-swasaga-sagipo

Gautham Menon’s latest released simultaneously in Tamil and Telugu, but I preferred this version, even though both are identical in terms of story and cast apart from the male lead. Naga Chaitanya is excellent in the lead role in this version, although Simbu is almost as good in the Tamil film, but the story seems to work better with the less physically imposing Chaitanya and the chemistry between him and female lead Manjima Mohan has significantly more sparkage too. Gautham Menon has stuck to his two favourite themes of action and romance but this time with a rather different approach to give a film with two distinct and very different halves. The first half is all about the romance with no indication about what lies ahead except for brief flashes during the opening credits that suggest there may be troubled times at some point, and a message that the film is inspired from a scene in the Godfather – not a film known as a touchy, feely love story! The second half explodes into violence and action just before the interval and the film quickly becomes a thriller with plenty of suspense and good action sequences. Overall the combination works well, although the action part of the film is somewhat let down by unlikely police corruption and a few too many co-incidences. Still, if you can just go with the flow and ignore the implausibility of parts of the plot then Sahasam Swasaga Sagipo is a good entertainer helped along by excellent performances and a better than average soundtrack.

Naga Chaitanya’s character doesn’t get a name until near the end of the film, and since it’s part of the plot I won’t reveal it here but will just refer to him as Chaitanya. At the start of the film we learn that the first love of his life is his Royal Enfield and that he plans to go on a road trip to Kanyakumari and watch the sun rise over the sea. Chaitanya has completed a degree in engineering and an MBA but now has to decide what he wants to do with the rest of his life. Around the same time his sister finishes her degree and starts an internship along with a friend, who also comes to stay with the family. As soon as Chaitanya sees Leela (Manjima Mohan) he falls in love with her, although he plays it cool and doesn’t immediately say anything. Instead he talks to his friends incessantly about Leela, spends more time at home so that he can see her and spends most evenings chatting to her after everyone else has gone to sleep. They develop a friendship and when Chaitanya finally leaves on his road trip Leela asks to come along too. Chaitanya happily drops his friend Mahesh (Sathish Krishnan) in favour of her company and without telling anyone the two set off on Chaitanya’s Royal Enfield for the South.

The romance is handled with a light touch as Chaitanya is determined to be ‘decent’ and Leela initially seems to think of him as just a friend. However, there are significant glances, chance looks and those late night conversations that slowly develop into significant chemistry between the couple when they head off on the road trip. A.R Rahman’s music provides emotional support to the romance and with that, and the wonderfully evocative sunrise it does seem inevitable that love will bloom before the couple return home. Chaitanya has improved significantly since his role in Ye Maaya Chesave and his performance here is excellent as a young man experiencing his first real love of the non-vehicular kind. He appears more mature and this gives him more plausibility when he talks about his feelings during the voiceover sections of the film. The scenes with his friends are also well written and include some comedy that helps keep the first half light. The combination of family life, friends and developing romance ensure Chaitanya is a likeable character with an easy-going personality and generally upbeat approach to life.

Manjima Mohan looks beautiful and does a good job with her character, successfully combining traditional (her father checking out the family before she starts her stay) with modern (her decision to go on a road trip with a guy she hardly knows) to give an overall picture of a confident young woman who has definite plans and the determination to follow through with them. I liked her in Oru Vadakkan Selfie and she is even better here, appearing very natural and coping well with a role that demands a range of emotions as events start to head out of control in the second half. She seems very natural and was just as good in the light romantic scenes as in the heavy emotional drama where she really got to pull out all the stops and give it her all. I loved her ability to still look amazing even with her make-up running down her face and as always I love it when a heroine contributes to her own rescue, even if she couldn’t quite manage it all by herself.

The action and violence of the second half comes as a real shock after the slow-building love story and everyday characterisations of the lead pair. Suddenly Chaitanya has to deal with situations that are far from his previous experience although as he frequently mentions in the voice-overs, he believes he has the confidence and capability to deal with whatever life throws at him. Luckily for both Chaitanya and Leela this does indeed seem to be the case. The action sequences are fast, frequently very violent and generally unexpected. Dan Macarthur’s camera work ensures these scenes seem full of energy and confusion, just as I’d expect in any real life fight. There is a blurriness and disorientation as the action unfolds which is in direct contrast to the periods of calm where events move slowly and there is a chance to breathe. The contrast is brilliantly done and makes the action sequences stand out even more as completely alien to Chaitanya’s experience and expectation.

Trailer

Unfortunately, all of this technical excellence is let down by the screenplay which starts to become ever more fanciful, particularly with the inclusion of corrupt police officers led by Kamath (Baba Sehgal). The police appear to do whatever they want without any fear of being caught or held to account for their actions despite these occurring in full view of hospital staff, hotel patrons and numerous other witnesses. Baba Sehgal is ridiculously over the top, almost cartoonish in his portrayal, and this badly impacts the rest of the film, even when the story becomes more rational. The climax too is disappointing with the final events appearing rushed and too opportune and neatly packaged to be fully engaging.

Still, despite the issues with the second half, the film is still engaging. There is plenty of suspense and like everyone else in the cinema I was on the edge of my seat waiting to find out what was going to happen next. In particular, the picturisation of the song Vellipomake is unique and a great way to completely change the direction of the film while the rest of A.R. Rahman’s songs fit well into the screenplay and enhance the romance between the lead couple. Both Naga Chaitanya and Manjima Mohan are excellent, as too is Sathish Krishnan and the various actors who play members of Chaitanya’s family so that even though the story doesn’t always make sense, the actors draw you into their world regardless. Sahasam Swasaga Sagipo has its flaws but there is still much to enjoy despite the dodgy ending. Focus instead on the excellent performances from Naga Chaitanya and Manjima Mohan, enjoy the soundtrack and beautiful scenery, and suspend disbelief enough to appreciate the contrasts and suspense of the second half.

Jyo Achyutananda

jyo-achyutananda-poster

The film opens with an awkward family photo session. The photographer tries to get the two boys to loosen up and stand closer together, and tries to get the mum to look mildly happy. And so we learn the brothers Achyuth (Nara Rohit) and Anand (Naga Shourya) had a falling out and the mother (Seetha) is grieving her recently deceased husband…Well, to be fair she spends the whole film looking tearful or giving people the stink eye. The tension continues at home as Achyuth reminds Anand of the disparity in their earnings and who is the head of the family.

Through flashbacks we see the boys in happier, pre-moustache times. They sneak cigarettes and enjoy gossipy chat over snacks, and seem to be each other’s best friends. There is rivalry over the dumbest things but it is all pretty good natured. Until they both fall for the same girl. Jyosna, or Jyo (Regina Cassandra) is their new neighbour and commits the crime of being single and gorgeous. The boys fall over themselves to impress her, but she sees them only as friends. This does nothing to dampen their enthusiasm and they cut each other’s lunch with abandon. Anand is goofy and puppy like but Achyuth reveals a less likeable side of his persona, especially when he burns her passport to prevent her from leaving to study overseas. Yes. And then they blame her somehow for their father having a heart attack, assuming she told him that his sons were vile and that’s why he dropped dead. Jyo leaves with the support of her dad (a beautifully warm and understated Tanikella Bharani) and so that chapter closes. But the boys’ rivalry festers into something nastier over the years…and then Jyo comes back.

The way the story unfolds initially is lots of fun. Each brother tells his wife that it was the other brother who had a thing for Jyo and the detailed recounting is filled with little jibes. The brother who is acting out the story being told gets to do some excellent hamming and spout cheesy dialogue. Then we see the “real” version of all three becoming friends and indulging in a song montage all over Hyderabad.

Here’s another notable song moment.  Man stalks girl at market, girl tries to make him go away, man becomes more persistent, girl goes to the police who throw her back into the man’s arms and then join in the dance. It was an early inkling that I was going to have issues with this film.

The second half covers what happens after Jyo returns, and I found myself liking both brothers less and less. They rarely spared a thought for their wives other than to try and keep them away from Jyo. They didn’t even think that much about Jyo and what she wanted. They were too far gone in their chest-beating weenie-waving man games.

It seems men are the only people in the film, the women are just fixtures. Priya and Kalpana are mocked by their husbands’ machinations to get with Jyo and the lies they tell. The lines are funny and their acting is fine, but the characters are not given any respect and the audience isn’t expected to find a problem with that. In some ways Jyo is punished for her failure to like one of the boys. She has to deal with the aggravation and the obstacles put in her way, try and sort out her own life and relationships, and she even gets saddled with fixing Achyuth and Anand. In a film supposedly about love and relationships, it’s a shame so many of the relationships seem a bit toxic.

I loved the performances by Nara Rohit and Naga Shourya. Loved them. They looked perfect, their chemistry was fantastic, their comedy timing was spot on, and when they fought it felt like they really meant it. Their late night snuggles and gossip like an old married couple were very funny and they brought the complex dynamic in their relationship to life. It seemed effortless. I wish they’d been playing characters I could have loved as much. Anand was the least objectionable because I could see his behaviour was driven more by emotion and impulse in the moment, and by conditioning to kick back at his overbearing big brother. Achyuth was more calculating and deliberately set out to hurt Anand and to control Jyo. I’d be laughing at something silly he’d do or say and then recoiling at the next moment. For example, at a corporate tennis match he hit the ball into an opponent’s face and high-fived his partner. The writing of his mean spiritedness is excellent and the things he chooses to do are really hurtful. So it was quality work in terms of insight into a sibling rivalry. But there is no real penalty for him, or Anand, and they reconcile because they want to go back to the good old days.

Regina Cassandra is great as Jyosna. Despite occasionally being made to forget she has a brain, Jyo is a smart and independent woman who has ideas about her future and who should be in it. She is lively without being manic and I liked the way she shifted tone slightly depending on which of the brothers she was talking to. Jyo’s return and the subsequent scheme to set things back to rights was a bit muddled but I enjoyed all of her screen time. And I was chuffed when Nani showed up for her.

Srinivas Avasarala wrote and directed and shows his love of, and influences from, cinema. While the structure works and he handles the flashbacks quite well, he maybe lacked some confidence in his audience. Every joke is underscored with loud sound effects, there is a bit too much repetition in some scenes, and he hammers home the obvious points. Visually the film is pleasant but gets a bit cheesy in songs. I liked the parallels between present day and the past boys relationships and the ending was neatly done.

The audience was in stitches at some of the lines, so I missed a lot. But if all the jokes were on par with the English ones, then I don’t think it was a huge loss. Has anyone over the age of 9 ever said “I miss you from the heart of my bottom” and genuinely expected a laugh?

The good bits are good, the actors are great, but the film left a bad taste in my mouth. Maybe this would improve with the benefit of subtitles but whatever it is that raised my hackles would still be there. It’s a shame. I’d love to see more low-key relationship driven films coming out of the Telugu industry, but not ones that idolise a load of male wish fulfilment BS. (Note: I have a longstanding love-hate relationship with the film Love Actually so I’ve got form in this genre)

Veta (1986)

 

Veta DVD

Let me summarise the plot. It’s The Chiru of Monte Cristo.

A Kodandarami Reddy and the Paruchuri brothers transpose the Dumas classic to a pre-Independence India that still seems somewhat out of time. Maybe it’s all the ruffled shirts. Or lack of credible historical detail.

Pratap (Chiranjeevi) is an honest merchant seaman/maître d’, framed and sent to jail merely to protect the self-interest of others. His pre-incarceration outfits tend towards the Purple Rain era Prince influenced. Purple, ruffles, fancy boots, metallic mesh puffy sleeves. OK maybe that last one was purely the wardrobe team.

Saroja (Jayaprada) is related to, but not interested in relations with, Jairam (Mohan Sharma) an officer of the British Government. She loves Pratap and they do a lot of frolicking on the beach. Jairam leans on Bannerjee (Ranganath) to send Pratap to jail for the term of his natural life. Pratap tries to escape but is hunted down like a blindingly white trousered prancing thing. They truss him on the truck like a hood ornament or hunting trophy, and off he goes. Eventually Pratap hears sounds from the next cell. My note here reads “OMG he uses a broken cup to cut through solid rock. Of course.”

Mahendra Bhoopati (Kongara Jaggaiah) is the king next door, also in jail thanks to sleazy Jairam. He explains to still innocent Pratap who all had conspired to get him locked up. That lights a fire under Pratap and he vows revenge. He also promises to seek out the king’s daughter Jyotirmayi and restore her fortune and title. The map to the treasure is written in blood. Of course.

Pratap escapes and is rescued by quasi pirates who take him to the secret island location to find the treasure. There are so many plastic skulls…One pirate is eaten by cannibal tribesmen. But they bite off more than they can chew when they attack Pratap. Yes, I went there! Do note that if you are attacked by cannibals, it pays to have a cobra handy.

Many questions occurred to me throughout this episode, and I do not recall the same level of WTFery in the original text. How the hell did Mahendra Bhoopati get that huge trunk into this cave surrounded by all those perils? Did he have the cannibals installed later? How do Pratap’s clothes stay so white?

Pratap returns to civilisation as the mysterious Rana Pratap Kumar Varma. In a vague nod to realism, people do seem to recognise his face even if they talk themselves out of it. Saroja knows exactly who he is, even without the Significant Ring, but doesn’t tell her husband, the unlovely Jairam. Pratap is enraged at her faithlessness despite knowing she thought he was dead, and his anger makes him really bad at maths. Saroja has a young son and Pratap doesn’t even consider the kid could be his. Saroja tells him but he is too far into his rage to believe her. Jyotirmayi (Sumalatha) has feelings for Pratap but she can see he is not emotionally available. That doesn’t stop her from imagining him shaking his moneymaker in a tribal extravaganza.

My note here reads “OMG Pratap stabs Banerjee with his BARE HAND. His Red Right Hand!”

Veta-Pratap and Jyotirmayi

Eventually Pratap goes Rambo and takes his revenge. He is ably supported by the knife throwing Jyotirmayi and hampered by the clueless and obedient Saroja. The guns look super fake, Pratap survives being trampled by horses, it is all insane and exactly as expected. Even Jayaprada’s saree seems to have super protective properties as she did survive a rocket launcher attack unscathed. Once.

Chiranjeevi is more than up to the requirements of wearing outrageous outfits, chasing horses, prancing mightily, and emoting fiercely. He sounds so sincere in every big speech, and despite the silly trappings he does portray the darker side of Pratap’s character once he is set on revenge.

Jayaprada makes a stronger impression in the latter part of the film, when Pratap returns from the dead. She is no longer the demure young girl with horrible fashion sense. She has lived through loss and she knows what her priorities are. Her scenes with Chiranjeevi crackle with emotion and pain. I am often impressed by how good the good bits of a potboiler can be.

Sumalatha is world weary and a bit over it all as Jyotirmayi, and despite minimal dialogue and screen time she makes something of her character. And Jyotirmayi had excellent song costume imagination.

The song picturisations range from the usual cavorting on hillsides to more epic fantasies. Often the song picturisations are a heroine’s fantasy but in Veta Chiru dresses himself in his songs and his happy memories seem to consist of flinging himself around in ruffled shirts or the mindboggling Fauxgyptian oasis. In the Oh Rani song Jayaprada has to frolic in a wet white saree so Chiru frolics in snug white pants. Equality in action.

I really didn’t know what to expect from this film other than I’d watch it because of Chiranjeevi. It’s not exactly good but it is highly enjoyable and visually pleasing. I like both Jayaprada and Sumalatha and their characters do more than just wait and simper, and the Megastar is suitably over the top heroic. I was sitting there thinking to myself that the stunts were unusually human centric with nary an injured horse in sight and then in the last 7 minutes or so the horses started toppling. It’s just so wrenching to watch.

See this to round out your education in film adaptations of classic literature, to see a robust sample of ruffled shirts to inform your wardrobe choices, or just because you aren’t sure if I am exaggerating the WTFery or being unusually understated. 3 stars!

P.S The film is on Youtube with subtitles.