Goonda (1984)

goonda

A sophisticated archaeological dig uncovers a priceless idol. Numerous criminal gangs swoop to claim the prize, and the title of Best Gang Ever.

There are men in red shirts v men in white pants v overgrown scouts in khaki.  And then a relatively svelte man in black ninjas his way onto the scene – cartwheeling and backflipping like he’d just invented acrobatics. Who could it be?!?

Chiranjeevi teams up with A Kodandarami Reddy again for a mass film with a few little tweaks on the standard formula. There are multiple identities, daring deeds, family histrionics, a significant mole, and a lot of prancing around in parks.

Kalidas (Chiranjeevi) is the up and coming star of a crime gang. Kali is confident and quite happy with his lot which seems to include Mohini (Silk Smitha), the chief’s daughter. He has a fearsome reputation, a tight perm, and blue contacts. He represents the meritocracy while the leader’s nephew Kasi prefers nepotism to ensure his career progression. He and Kali have an excellent and yet not very good at all blindfolded fight to the (almost) death which I found oddly compelling and quietly soporific.

The lair is a cave with odds and ends of lounge furniture picked up on hard rubbish collection day. And despite being top secret and underground, apparently anything that goes on is clearly audible in Kali’s lounge room. A series of unfortunate events triggered by the jealous Kasi sees Kali leave gang life to go straight.

Kali rebrands himself as Raja a pop singer with much better hair, and coincidentally meets SP Anand (Satyanarayana Kaikala) on a train. Cue flashback and the genial policeman is Raja’s father, back when he was a little boy called Ravi.

Goonda-tragedy

Ravi was involved in an accident resulting in a neighbour losing his sight, and his furious dad chased him down the road firing warning shots over his head. So I can kind of understand the kid being terrified of his father catching up with him. Raja saves SP Anand from goons sent to kill him, and SP Anand makes Raja stay in his home. Will they ever recognise him? Will he tell them? Will they overcome evildoers and lively happily ever after?

Raja gets a job at the nightclub owned by baddie Kasiram (Allu Ramalingaiah), where Jaya (his childhood intended played by Radha) sings. I do enjoy a bit of disco yoga classical fusion.

I am less in love with Chiru’s wardrobe, which seems to be sourced from the ladies floral blouse department.

While growing closer to Raja, Jaya reveals her intense hatred of Ravi, the child who destroyed her family. Raja decides he has to win her love as his new self, and fix everyone else’s life into the bargain. Will they ever recognise him? Will he tell them? Will they overcome evildoers and lively happily ever after?

Thankfully Raja likes to get his shirt off, so Jaya recognises the Significant Mole. After some angst and a little bit of PR from the gossipy doctor, she and Raja resolve their differences. Love arrives differently for us all. Sometimes it is wearing a Blondie t-shirt.

Raja decides to secretly protect his dad, although he still won’t tell his family who he is. But Dharmaraju has tracked down Kasi, a witness to Raja’s past. Will they ever recognise him? Will he tell them? Will they overcome evildoers and lively happily ever after?

Raja utilises his old Kalidas skills to get the money for Jaya to settle a debt, and he is the anonymous benefactor behind a sudden offer of an eye transplant to restore her dad’s vision. Raja’s fighting style is as flamboyant and flexible as ever, so the action scenes are loads of fun. There is an excellent train sequence where it is clearly Chiru himself (at least for most of the time), leaping from carriage to carriage and flinging his opponents to the winds.

As is often the case in Telugu films, justice is not clear cut and may reside outside of the legal system. SP Anand has to deal with the consequences of his temper, both in the past and now he knows his son has returned. And Raja has to pay for Kalidas’ actions. I liked that no one really escaped from themselves. It’s a good way to mesh a family drama with a revenge motif.

The multiple identities give Chiru a good excuse to switch up the wardrobe options and he imbues each character with a different emotional tone. Kali is never conflicted about being a crook, and his change of lifestyle was more to please his father figure. He certainly managed to heal his wounded heart in record time. Poor Mohini – forgotten in just one dance sequence. Raja has firm views on Jaya’s brother Srinu being a wastrel and tells him he has no right to eat if he doesn’t earn his own way. Which is interesting in light of his criminal past but maybe he saw that as honest work, and better than taking money from a WOMAN. The horror! His views on the role of women are typical of the age and genre, but he does understand why Jaya mistrusts him and that he needs to give her evidence before she would change her mind.  And despite his love for his estranged family, Ravi also sees that his father was very unfair. He doesn’t examine his own decision to jump off a bridge too closely, but you can’t have dazzling insights into everything.

Jaya has a bit of backbone, and Radha always has good chemistry with Chiru. When she realised who Raja was, she was furious and articulate in rejecting him. And when she changed her views, she was again articulate and clear in what she wanted to happen with their relationship. She is a typical filmi heroine but I could respect that she was making some of her own decisions. The wardrobe team do torment her in some dance sequences, and I suspect they even repurposed Kali’s perm wig. In a way she is the character that triggers Raja into action. He could have made do with seeing his family occasionally under the guise of friendship, but he fell for Jaya and so he had to do something to gain her trust and affection.

Allu Ramalingaiah and Rao Gopal Rao are the muddling but nasty crims who run the club and there is an ongoing subplot of both stupidity and cruelty at their behest. There is also a large cast of supporting goondas, many of whom seemed most animated in their death scenes. Satyanarayana Kailkala and Annapoorna do what they have done so very many times as Ravi/Kali/Raja’s parents. Silk Smitha’s role was small but she did get to wear some fabulous sequinned shorts so she made an impression.

Despite being full mass formula, Goonda is a bit more low key and contemplative than some of Chiru’s other hits. The music and choreography is a bit lacklustre, especially considering that Chiranjeevi and Radha were no slouches in the dance department. The set design and costumes also show the spirit of making do. I think they spent all the big bucks on the train. See this for truth, justice, and two kinds of Chiru! 4 stars!

Pasivadi Pranam

Pasivadi Pranam

I watched Pasivadi Pranam with high expectations since Kodandarami Reddy directed many of Chiranjeevi’s best films including my favourites Challenge and Attaku Yamudu Ammayiki Mogudu, while story writer Fazil was also responsible for the excellent Manichitrathazhu. The film is a remake of Poovinnu Puthiya Poonthennal with Mamootty but as I haven’t been able to track down a copy of the original Malayalam film, it seems quite reasonable to settle in with Chiranjeevi and Vijayashanti instead.  And well worth it too – with Raghuvaran as the villain and with plenty of good songs including a breakdance (below!) Pasivadi Pranam is a great way to celebrate Megabirthday 2015.

The story starts with a rather horrific murder, witnessed by the victim’s wife and young child as Sundaran (Prasad Babu) is stabbed by Ranjit (Babu Antony) under the direction of his boss Chakravarty (Raghuvaran). Intriguingly Ranjit is dressed entirely in white – surely not the best colour to wear when preparing to stab someone, and then rather randomly he pulls on a red hat before carefully removing it a few moments later when he attacks Sundaran. One of those delightfully random moments that I wish had some deeper meaning – but doesn’t!

Despite murdering Sundaran almost right outside his front door, Ranjit and Chakravarthy are shocked and appalled to realise their crime has been seen and Charavarty sends Ranjit to get rid of the two witnesses; Sundaran’s wife Lakshmi (Rajyalakshmi) and their son (Baby Sujitha). Although Ranjit manages to kill Lakshmi, her son has a better developed survival sense and manages to escape. Initially he does quite well, hopping on a bus and heading far away from the chase, but eventually he falls asleep at the side of the road. And that’s where drunken bar owner Madhu (Chiranjeevi) finds him later.

Madhu apparently has a death wish – illustrated by a fight in the bar he owns and perhaps rather more riskily by gate-crashing an exercise class and joining in with the ladies in leotards. Despite his attempts to commit suicide by aerobicise, Madhu has a kind heart and he stops his car when he sees the small boy asleep at the side of the road. After a half-hearted attempt to locate the boy’s parents fails, Madhu decides to take the child home with him and call him Raja. The next day however he discovers that Raja has been born deaf and consequently is also dumb; reasons which the consulting doctor suggests may have been the reason for Raja’s abandonment by the side of the road. Madhu isn’t convinced though since Raja seems to be trying to tell him something, although he can’t quite work out the message.

Madhu has a sad past which is explained later in the film but initially there are just cryptic references to November 18th and a psychedelic green and red image of a spinning woman that appears onscreen.

A flashback sequence explains that Madhu’s wife Lakshmi (Sumalatha) was killed on their wedding day, and after that tragic event Madhu has turned to drinking himself into oblivion most nights. He tells himself not to get too close to Raja, but seems to immediately forget this instruction and starts treating the boy as if he was his own son. Sujitha is very cute as Raja and is also great at remembering the character isn’t supposed to be able to talk. It’s an impressive performance from the young actor and she has an excellent rapport with Chiranjeevi throughout the film.

While out buying toys for Raja, Madhu meets Geeta (Vijayashanti), and after the initial altercation when Raja breaks a model Taj Mahal, Geeta seems quite taken with the pair. She starts stalking Madhu, turning up at his house and inviting him round to visit. Much of the comedy is based on Geeta’s pursuit of Madhu and his rather ineffectual attempts to rebut her advances until he rather dramatically announces that he is a ‘married bachelor’.

At the same time as the romance is going on, Ranjit is still trying to follow Chakravarthy’s commands and get rid of Raja. However he misses numerous opportunities and is eventually soundly beaten by Madhu once Raja wakes him from his drunken stupor. This turns out to be the last straw and Madhu renounces the demon drink so that he can take proper care of Raja. The attempts on Raja’s life clue Madhu in that there is more going on than just an abandoned child and he starts trying to piece together Raja’s past. At the same time, Geeta’s father decides to reconcile with his estranged daughter (you guessed it) Lakshmi and finds her mysteriously missing. This in turn gets the police involved and after various mix-ups and tense moments, finally Madhu discovers the truth.

Although Pasivadi Pranam is a fairly straight forward story, there is a good mix of drama, suspense and comedy which all add up to a cracking good tale. Fazil knows how to keep an audience glued to the screen and even the interjection of songs and some comedy with Vijayashanti’s character doesn’t derail the tension. The songs are fun with the occasional odd fashion choice (gloves and a sari?) but I do appreciate the sensible footwear for snowy conditions. I love the backing dancers outfits in this song too – they turn from dull and drab to a glorious blue so simply and the effect is marvellous.

Chiranjeevi is excellent as a lonely man, ridden by guilt who wants nothing more than to be left alone to wallow in his misery. His gradual transformation at the hands of a small boy is beautifully done and the addition of a love interest in Geetha helps add some light hearted fun and stops the story from being too dark. Vijayashanti has plenty of infectious energy and I get the feeling she enjoyed turning the tables on Chiru, being the stalker rather than the stalkee for a change. The two have wonderful chemistry together and their comedy scenes also work well, although Raja steals the show when he does an impersonation of Geeta which is simply perfect!  The villains of the piece are also better realised than usual and are suitably creepy rather than all out vicious thugs, while Babu Antony is genuinely sinister as he skulks along in the shadows.

Pasivadi Pranam illustrates just how good a film can be when it starts off with a proper (and good) storyline.  Add excellent performances, appropriate dialogue and generally well placed songs and it all adds up to an entertaining film that’s well worth a watch. 4 stars.

 

Jebu Donga (1987)

Jebu-Donga-Title

While Jebu Donga may not be the most deep and meaningful film of 1987 (or indeed any other year), it does have a slightly different approach to the Mass Hero as well as sufficient quantity and variety of dances and explosions to keep me amused.

Chiranjeevi is Chitti the pickpocket, happily fleecing the rich, helping some of the deserving poor and indulging his love of disguises. Bhanupriya is his rival in petty thieving, and has an equally strong commitment to the dress-ups and convoluted schemes. Satyanarayana Kaikala and Maruthirao Gollapudi are the not as bumbling as they seem CBI officers who need to get a spy into Raghuvaran’s gang. And Radha is a woman of mystery. The police decide to use the unwitting Chiru as a distraction, feeding the crooks a fake top secret file that names him as Special Agent Chakrapani. While he goes about his daily crimes, the crooks are after him and the cops are watching the shenanigans. But eventually things come to a proper masala conclusion, albeit one with a couple of surprises.

While Telugu mass films are all about the hero, one of the things I enjoy most about Jebu Donga is that Chiru’s character is not as much in control as he thinks he is. He reacts to the confusing succession of attacks and rescues but has no idea why some things are happening. He tries to beat Bhanupriya’s character to a heist but ends up losing his trousers – don’t panic, it is all quite family friendly. Radha appears as a woman from Chakrapani’s past and Chitti is unable to say no to her. And the police manipulate him so easily. He does have to do his bit to save everyone at the end of the film, but he is not the usual know-it-all lone hero.

Chiranjeevi makes the most of his role, adding a dash of levity to the fight scenes as well as flirting up a storm. I looked over my notes from watching the film and at one point I have just written “Jeep! Whips! Leaping!”  Chitti is a good person apart from being a thief, and he helps out where he can. One of his robberies even helped a reluctant bride escape an unwanted marriage. He has what might be a sister and younger brother (Shanmukha Srinivas) as well as his mother to provide for, and pretends to them that he is a labourer doing honest work. The songs are a real highlight, and not always just for the outfits. I love Rajaloo Rajalakshmi where Chiru steals Bhanupriya’s clothes while she is bathing.

His dancing is uninhibited and cheeky (even including a bit of snake style), and once she finds something to wear she dishes it up in equal measure.

I’m not so sure about his wardrobe choices. The double denim and highpants are a symptom of the late 80s but I really do not get the sleeveless skivvy.

Bhanupriya’s character is a bit ditzy although she exhibits competence in her chosen field of cons and theft.  While Chiru is relatively plainly dressed, she wears some outrageous outfits and more than holds her own in the dances. I’m not sure how she is related to Chitti but when she falls for him it feels more as though they have been meant for each other for a while but are only now admitting there is an attraction. And where many a filmi heroine has to be rescued, she does her share of saving him too. She knows she is smart and sees no reason to let the slightly dim but charming Chitti overrule her.

Radha’s character is the real secret agent. I think she tells Chitti that he is a perfect lookalike for the deceased Chakrapani and he cannot resist her helpless female act. He should have been alerted when her dream sequence song turned up looking like this! She is smart, runs her own operation although her dad is one of the CBI officers using Chiru, and she has firm views on what needs to be done. Like Bhanupriya, she will accept help but she doesn’t always wait around for it to materialise.

All good heroes need a bad villain. Raghuavaran is the sleazy Peter, the main man who runs operations  for the completely insane Kannada Prabhakar. I always like a bit of megalomaniacal set design and sadly that is where Jebu Donga fails me. Peter lives in a respectably glossy mansion decorated with portraits of himself and masses of horrible modern sculptures while the bad guy HQ is a simple rustic camp. Not quite up to the Mogambo gold standard despite the impressive commitment to training shown by the minions. Most of the thugs wear that pale blue or mauve, but there are special colour coded sets as well as some plain clothes goons. Satyanarayana and Gollapudi are actually lots of fun as the police masterminds. They amble around, two portly middle aged gents who giggle like school girls as they watch the drama ebb and flow around their hapless helper. They also have some odd little flashbacks to what I think are Gollapudi’s terrible ideas for going undercover.

Chakravarthy’s soundtrack  borrows from Mr India, Michael Jackson and who knows what else. It’s all great fun, largely due to the enthusiasm of Chiranjeevi and Bhanupriya. And for once, the ladies get the sequins and lycra while Chiru dresses relatively conservatively.

I always have reasonable expectations of a Chiranjeevi/A Kodandarami Reddy film. There will be heroics, fights, dances, romance, eyeball melting colour and movement and almost no traces of logic. Jebu Donga delivers and shows Chiru in a more comedic, blundering hero role. Chitti may be a bit thick but Chiru knows exactly what he is doing and how to wring maximum entertainment from his material. The movie is available on YouTube. If you’re wondering, I deliberately chose the upload with the most offensive watermarks. Dear Reader, if you know anyone at that poxy company, please gently slap some sense, or at least some shame at defacing a film, into them.  Well worth seeing for the excellent cast and the frothy material. 3 ½ stars!

I will leave you with a Megabirthday Masala Multiple Choice Quiz. Please examine the following image.

Jebu-Donga-Quiz

Which of the following happens next?

  1. Evil Overlord makes crippled dance-obsessed Shanmukha Srinivas dance (a bit like Basanti in Sholay)
  2. Chiru, tied up and dangling in mid-air, escapes by breaking the trees from which he is dangling
  3. A Ma is terrorised by being given an unwanted haircut
  4. Radha kicks the bejesus out of about 47 bad guys
  5. Someone is so determined to detonate a bomb that he sets himself on fire and rolls across a clearing to ignite the fuse
  6. What do you mean which of the following? That’s a rookie question. All of the above, of course!