Sarrainodu

Sarrainodu

If all you want in a movie is plenty of gory fight scenes and a couple of good tunes then Sarrainodu is probably the film for you. But on the other hand, if you prefer a cohesive story with an actual plotline, semi-plausible romance and an attempt at more than one-dimensional stock characters, then best to steer clear. The one saving grace in Sarrainodu is Allu Arjun, who manages to entertain even while playing a violent, psychopathic stalker who nonetheless is actually the hero.

Bunny is Gana, ex-military, although ‘ex-‘ exactly what is never specified in a general vagueness that afflicts every character.  Gana spends his days bashing up offenders his lawyer uncle Sripathi (Srikanth) has failed to bring to justice in court, much to the frustration of his father (Jayaprakash) who feels he should be doing something more worthwhile with his life. The rest of the family dramatics follow Telugu Mass Movie Formula No 1, with the addition of a comedy track featuring Gana’s sister-in-law (Vidyullekha Raman), a Tamilian obsessed to the point of mania with sambar and Brahmi as a philandering brother-in-law. Neither of the two comedy tracks is funny and Brahmi’s sleazy character is particularly off with little relevance to the rest of the film but then that’s nothing unusual for this type of film.

With some nice symmetry, while Gana is belting the living daylights out of gangsters to reclaim land they appropriated, uber-villain Vairam Dhanush (Aadhi) is cheerfully slaughtering villagers to grab their land for his pipeline project. Vairam likes the sound of his own voice and witters on about ‘background’ as if the concept may have some significance to the plot later on. Perhaps it was meant to, but since the background of neither Gana nor Vairam (or anyone else for that matter) is given anything more than a brief mention, Vairam’s insistence on the concept makes little sense.

As a villain, Aadhi has a good sneer and appears appropriately nasty, but his character is so one-dimensional that Vairam himself has very little impact. He’s evil purely for the sake of being evil and naturally (adhering to TMMFNo1) he’s rich and privileged with the Chief Minister as his father and a large criminal network at his beck and call. Aadhi tries hard to give Vairam some personality but he has little to work with and his villain pales beside the spectacle of Gana’s righteous fury.

Gana falls in love with Hansitha Reddy (Catherine Tresa), oddly cast as a very unlikely MLA, and decides to follow the usual path to true love (TMMFNo1 again) by stalking the girl until she falls for his charms. This is even less viable than usual given that as an MLA Hansitha has the wherewithal to send Gana about his business, but bizarrely she declares her love for him instead. The path to true love is not smooth however and there is a complication in the form of Maha Lakshmi (Rakul Preet Singh), who falls heavily for Gana when he rescues her from Vairam’s thugs. Sadly neither of the romances works well at any point in the film and there is zero chemistry between Bunny and his two leading ladies, probably due to a lack of screen time together and therefore little opportunity for any relationships to develop.

Bunny is on top form here and single-handedly manages to hold the film together despite the many flaws and gaping holes in the barely-there plot. Whether he’s fighting or dancing he looks amazingly fit, and effortlessly switches between his devotion to Hansitha and his uncontrollable fury when he sees injustice against the helpless. As always he looks awesome in the song sequences where every dance routine features excellent footwork, amazing energy and that trademark Bunny grin. S.S. Thaman’s songs are catchy and memorable too, and the choreography is well suited to showcase the stylish star. He gets to wear some incredibly bright and colourful costumes and fares rather better in the wardrobe department than Catherine Tresca and Rakul Preet Singh, who both suffer from the curse of inappropriately skimpy Western style costumes in the songs, although both look stunning for the rest of the film. Anjali has a better time of it with her guest appearance in the item song blockbuster – which I love for many reasons, not the least of which being that one of the backing dancers is totally rocking a cool pair of specs – you go girl!

The other aspect of Sarrainodu that works well is the action, with fight sequences that are well imagined and expertly staged despite being incredibly violent and completely over the top. Where else would you have a fight scene on roller blades for example, or a wonderful stand-off by the hero beating numerous thugs while the participants in Puli Kali leap energetically around the fight? Most of the action contains a lot of slow-motion, but this highlights the choreography and showcases the small vignettes in the background – the bystanders, a horse bucking as it runs past and the portentously displaced gravel with every one of Gana’s footsteps. And it’s just as well that the action sequences are good as there are a lot of them – Gana spends most of the film fighting in increasingly violent and bloody encounters, throwing thugs around like confetti at a wedding and inflicting maximum damage on Vairam’s crime empire.

Boyapati Srinu adds almost every possible masala ingredient in this mish-mash of a film, but fails to provide a coherent plot or any rationale to his characters. I love a good mass entertainer – I don’t expect great character development or logic and realism in the plot, but there does need to be an actual plot and some sort of reason for the antagonism between the hero and the villain.Sarrainodu does not succeed by any of those criteria and yet I still enjoyed the film. The fight scenes are excellent, the dance sequences well worth watching and Allu Arjun puts in a magnificent performance that just about manages to overcome all the flaws in the film. One for the fans sure, but if you’re a fan this is Bunny at his best and that’s all that’s needed.

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Gundello Godari

Gundello Godari

Gundello Godari is a step away from mass masala, going back to basics with a simple love story that evolves in quite a different way from the usual fare.  This is director Kumar Nagendra’s debut film and it’s loosely based on a novel by BVS Rama Rao, set around the real-life devastating floods in 1986.  Initially, newlyweds Malli and Chitra know nothing about each other, but as they battle through the Godavari floodwaters, they gradually learn about their respective troubled pasts.  The screenplay is a little patchy in places and the flood is frequently overly melodramatic, but good performances and beautiful music by Ilaiyaraaja make this a better than average watch.

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The story opens with the marriage of Malli (Aadhi) and Chitra (Lakshmi Manchu), although they barely acknowledge each other throughout the ceremony.  The first spark of interest occurs when the beautiful Sarala (Taapsee Pannu) gifts the groom with a golden ring, obviously with the intention of making his new bride jealous.  At that point, the sleazy Dhorababu (Ravi Babu) arrives and also has a present for the happy couple, this time a gold chain for the bride.  Lost in their thoughts, Chitra and Malli linger too long and get caught up in the flood waters as the rest of the village evacuates.  However, they end up cast adrift on a thatched roof together, just managing to stay afloat, and in the likelihood that they won’t survive, decide to discuss their past lives and exactly how Sarala and Dhorababu fit into the picture.

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The initial flood scenes are well integrated between the sets and some good CGI.  There are one or two moments of soggy model villages eroding with a trickle of water, but these are brief, and after all, who doesn’t like to see the traditional model village make an appearance.  The cinematography by M.R.Palanikumaar is excellent, with beautiful shots of the river, wildlife and surrounding countryside particularly during the flashback scenes.  These contrast with the fury of the river in full flood, and also highlight the difference between Malli and Chitra’s earlier lives and their current turmoil.  Predictable perhaps, but when the parallels are drawn this well with good imagery it’s hard to object.

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The first flashback deals with Malli and his undoing at the hands of his boss’s daughter.  Malli is a hard-working fisherman who has a good circle of friends, looks after his mother like all good boys should, and is saving up to buy his own boat.  He also tends to favour a string vest, but we shouldn’t hold that against him.

Kumar Nagendra captures the hopes and aspirations of a village fisherman perfectly and Aadhi is excellent in the role.  A boat race at a local fair epitomises Malli’s drive and determination to achieve what he wants, although the same fair brings him inadvertently to the attention of Sarala.  Despite her impending marriage, Sarala has no compunction in going after what she wants, and in this case what she wants is Malli!  Although she initially appears child-like as she threatens and cajoles Malli into taking her to the movies on her birthday, events become more sinister as Malli arrested by the local police on a spurious charge of brewing illicit alcohol.  Whether it’s Sarala or her father who is responsible, Malli ends up taking his frustration out on Sarala and gives her exactly what she wants in the process.  Sarala is an interesting and atypical character with her overt sexuality and brazen attempts to drag Malli into her bed.  Taapsee is good in the role, but her expression rarely varies, and although her knowing smirk is suitable a little more variation would have given her character more appeal.  Aadhi on the other hand does a fantastic job of capturing frustration, anger and even some lust in his dealings with Sarala and despite the nature of their relationship, there is plenty of emotion and sparkage between the two characters.

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After Malli’s story, Chitra’s explanation of past events is not as well written and her story tends to wander off track.  Chitra was adopted by Suri’s (Sundeep Kishan) parents as a child, but it’s not a happy family. Suri’s father Somaiah is a drunkard and his mother Rathamma works as a prostitute to keep the wolf from the door.  Chitra is in love with the adult Suri, but he’s a man more interested in his chickens, in particular fighting cocks, than in Chitra.  He also pays a little too much attention to the bangle seller Bangari (Suja Varunee) and all together there seems very little reason for Chitra to want to marry Suri.

It’s actually a little creepy since they were brought up together as brother and sister, but since there is minimal chemistry between the two actors this isn’t a major issue.  Sundeep Kishan is restrained but adequate in his role as Suri, and the character doesn’t have a lot of depth for Sundeep to work with.  The explanation for Dhorababu turning up at the wedding is also less convincing, but Lakshmi Manchu is good as the beleaguered Chitra, and her spirited defiance against the various calamities that befall her is heartening.

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While the flashback sequences provide some explanation of previous events, they do provoke more questions that are never answered.  There is no explanation of what happened to Malli after his interaction with Sarala, and more importantly no mention of whether or not he is working as a fisherman and able to support a wife given his previous dismissal by his erstwhile boss.  The arrangement of the wedding is never discussed and there is no reason given for these two strangers deciding to marry each other. Still, the developing relationship between the two is well handled, even though it is almost swamped at times by the drama of the flood, and both Aadhi and Laksmi Manchu are both very good in their respective roles.

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Ilaiyaraaja’s music is evocative of the time, although there are two rather oddly placed item numbers which don’t fit as well and don’t have any real place in the narrative.  Mumaith Khan features in one of these, while Suja Varunee does the honours in the second, but both feel as if they are just added in to try and appeal to a more mass audience and aren’t particularly well choreographed.  However, apart from the first song, these are the only two numbers which feature any dancing, since the rest are used to showcase the various relationships of the main characters.

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Gundello Godari is a brave attempt to take a different look at relationships and approach a love story in a more unusual way.  For the most part it works, although the second half could be tighter condensed to allow for a more detailed development of the relationship between the two main leads.  Worth watching for evocative imagery, good performances from Aadhi and Lakshmi Manchu and a bold characterisation from Taapsee.  3½ stars.

Gundello Godari