Tirugu Leni Manishi (1981)

Tirugu Leni Manishi poster

The early eighties gave us so much in India cinema – psychedelic titles, crazy costumes, extreme décor and disco to name but a few – and they all turn up in Thirugu Leni Manishi! Chiranjeevi shares the limelight here with none other than N.T. Rama Rao and as far as I can find out seems to be the only film where they appeared together. Providing excellent support are Rati Agnihoti, Jayalakshmi and Jaggayya, with the unexpected pleasure of Bob Christo who pops up towards the end of the film.

Some of those amazing titles.

And almost immediately afterwards Chiru is introduced as up and coming singing sensation Kishore Kumar.

Oh yes!

Naturally Padma (Jayalakshmi) is seduced by Kishore’s smooth skills with a guitar and his excellent prancing prowess. Padma is the daughter of multimillionaire Sasibhushan Rao (Jaggayya) so it’s pretty much guaranteed that the romance is going to be an uphill battle. Raja (N.T. Rama Rao) is Sasibhushan’s son and in a nice contrast to Chiru’s tight trousers, Raja has a collection of very wide flares teamed with natty multi-coloured shirts, as befitting a successful lawyer and young man about the town. I’m not sure why they decided to portray Raja as a newly qualified young lawyer as he does look more his real age for most of the film, although no more so than watching an ageing Clint Eastwood or Jack Nicholson playing a younger hero in Hollywood, but as he has plenty of energy and dashes around saving everyone in sight his youthful on-screen age doesn’t really matter.

Sasibhushan has no intention of allowing his daughter to be married to a penniless singer and instead arranges Padma’s marriage to the son of one of his rich friends. Padma follows standard filmi heroine behaviour and decides to commit suicide as that’s much easier than standing up to her father or even running away with Kishore. Well, it is the Eighties after all, and she does make sure to call her brother and explain in precise detail exactly what she is doing.

Raja turns up in the nick of time to save Padma and decides to get her married to Kishore despite his father’s orders. At the same time, Raja keeps running into a con man (Allu Ramalingaiah) and his niece Seeta (Rati Agnihoti).To begin with Rama tries to turn Seeta over to the police, but when he realises she’s a good person struggling to makes ends meet as she looks after her dead sister’s children, he has a change of heart and gives her a job instead.

Naturally the two get to dance together so that Raja can have his love story too.

Things turn darker once Raja discovers his father was involved with a criminal gang of smugglers and even worse when he finds out that Kishore has been corrupted by the same gang. In an attempt to live up to Sasibhushan’s standards for his daughter, Kishore became involved with the gang as a way to make a lot of money quickly but soon realises the error of his ways. As Sashibhushan is murdered and Kishore’s son kidnapped things quickly come to a head leading to Raja and Kishore teaming up to overcome the gang.

N.T.Rama Rao is the man who no-one can oppose of the title. He is successful in court, in love and in rehabilitating Ramudu and Seeta so naturally it falls to him to deal with the smuggling gang once he discovers their activities. While N.T Rama Rao is the out and out hero, Chiranjeevi has a more shaded and probably the more interesting role to play. His singer is initially carefree and very much the man in love, but as he struggles to win over Padma’s father, his pride and determination to give her the life she has been used to lead to his downfall. Chiru excels as a man under pressure especially when his child is kidnapped to force him to comply with the smuggler’s orders. Although most of the film is relatively light-hearted, the scenes where Kishore struggles with his conscience are much darker and a tribute to his acting skills to be able to pull such a character off without derailing the story.

The cast are all excellent and K. Raghavendra Rao ensures that each plays to their strengths. N.T Rama Rao is charming and debonair as Raja but does get the chance to beat up the bad guys and indulge in a few disguises too, while Chiranjeevi starts off very cool and groovy but changes into a conscientious husband and father – at least until his secret dealing catch up with him and he has to fight to win back his son. Jayalakshmi doesn’t have too much to do after she falls in love with Kishore, but Seeta gets a chance to dress up and fight against the smugglers, and does a good job of it too. Chiru and N.T.Rama Rao still get the most dazzling costumes though!

The film is amazingly colourful and cinematographer K.S. Prakash goes for some interesting angles and unusual framing to keep everything looking sharp too. The decor in Sasibhushan’s house is incredibly lavish, but much more to my taste is a totally awesome lamp on Raja’s desk, and I love the Village People poster on the wall of Kishore’s living room . Naturally the smuggling gang also have style, and their hideout features a number of gigantic masks on the wall, while their criminal mastermind (Satyanarayana) has two large china cat statues on either side of his chair. The giant birdcage where they stow Kishore’s son for safe keeping is perhaps just a tad over the top though!

Thirugu Leni Manishi has a more complex storyline than I was expecting and is a lot more fun too. Chiranjeevi is in his element as a flamboyant singer and his shift to family man and gang member is beautifully done, while N. T. Rama Rao is a solid and righteous hero who knows how to make things right. It’s fantastic to see the two together and the film is definitely well worth watching for that alone although the costumes, décor and screenplay are awesome added bonuses. Drama, action, comedy, Chiru and NTR all add up to an excellent film and one that shouldn’t be missed. 4 stars.

Goonda (1984)


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.


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!

Jwala (1985)


Jwala hails from deepest darkest 1985, and is the first collaboration between Ravi Raja Pinisetty and Chiranjeevi. It’s a typical mass effort with the added delight of Chiru in dual roles. I watched this on a terrible quality print and with no subtitles so I was quite confused until I realised there were two Chirus!

The story opens with a Chiru being washed and dressed by his Ma. He is an adult, but buttoning up his shirt seems to not be in his skillset. As it turns out, that trait runs in the family.

Jwala-the kittens know

The Chakravarthis (Annapoorna and Satyanarayana Kaikala) fight about their sons under the watchful eyes of kitten art. There’s floppy haired Yuvaraj who cannot dress himself but is respectable, and Raju who favours an up-do and also cannot dress himself, but is possibly working as a mechanic and maybe has slightly rowdy-ish tendencies.

Bhanupriya has a troubled relationship with cars. She nearly runs Yuvaraj into a ditch, he runs her off the road, she retaliates against his parked bike and flees the scene leaving a cocky note and a blank cheque. Bhanupriya’s dad is less than happy when the cheque is presented with a generous amount filled in but hardly surprised.

She flounces off to a nightclub and sees Chiru , but he doesn’t seem to care or recognise her. She goes off in a huff, casting aspersions on his ability to shake what his mama gave him, which can Only Mean One Thing. A quick change later and Chiru hits the stage that has been used in so many films I cannot name off the top of my head.

I love that he is frozen in mid-air to give people ample time to applaud. Bhanupriya is furious that his outfit is better than hers and goes home in an even bigger huff. Her house has a photo mural and a cuckoo clock so she knows Style. Her dad lectures her about huffiness. I think maybe the money was either returned or used for a good cause, but he seems to be quite OK with motorbike dude. And that was about it for her – a couple of songs and a simper, never to be seen again.

Meanwhile Janaki (Radhika) is sold out to cover a debt. Raju (Chiru) sees this go down and rescues her from the sleazy baddies.  But Raju can’t save Janaki from all harm. People are calling her second hand and men see her as an easy mark. Raju realises he can’t bash everyone up – especially the really old ladies – so he marries Janaki. They do have a conversation about something before he ties the knot but I am not sure what it was about and whether she was actually consulted. However, neither of them looks unhappy, and when they go to his house to pay respects Raju reassures her while his dad goes nuts. At least his mum welcomes her daughter in law and there is time for a group hug. Radhika is a versatile actress and she manages to build a sense of Janaki and her feelings for Raju in small unspoken ways. Despite seeming to start purely through obligation, their relationship has many moments of warmth and sweetness.


In a room with another photo mural, the brains trust of the gang meets before adjourning to the tastefully appointed lair; skeletons, eclectic art collection, taxidermy, comfortable chairs… bedazzled gloves. The flamboyant Boss (Kannada Prabhakar) has a son who has been in the US so you know he is bound to be a creep. The Son begs to be allowed to run smuggling as he thinks it will be a thrill. There is so little common sense in this family it truly is a miracle they have managed to be so successful. The Son clashes with SP Chakravarthi on the beach when smuggled goods land. It’s too dark to see what’s going on but he is killed in a gunfight and now there is Revenge to be had.

The fight choreographer seems to be obsessed with Chiru’s thighs. The action requires he crush many an evildoer betwixt them as he hangs from a beam or does an impressive handstand to snare his opponent. Van Damme’s got NOTHING on Chiru! And all that rowdy lifting kept him in good form for duets.

My copy had this ad just after one of the fight scenes. Annoying, but appropriate product placement.

Raju is framed for murder and sentenced to jail. I don’t know what happened with the film but this section is mostly shown in stills. The Boss calls Chakravarthi and tells him why he has targeted his son. This causes 1) a tearful reconciliation and b) death.

Raju breaks out of jail. Yuvaraj flies home for the funeral and is met at the airport with news his big brother is now an escaped felon. While Yuvaraj rues that the rites won’t be completed by the eldest son, Raju turns up to light the pyre. After a justice versus vengeance bro-ment, the only thing that can happen next is an abrupt jump to the gang’s tastefully appointed courtyard for an item, complete with Silk Smitha humping all the props.

Jwala-that outfit

Yuvaraj wants Raju to turn himself in but Raju is on a mission, with firm views on appropriate forms of execution. Proving that apart from the shirt button thing, the brothers also share excellent groove genes, he undertakes a gladiator mini-skirt clad dance of death.

I almost said no one saw the flaming spear coming, but…

Yuvaraj tries to arrest Allu Ramalingaiah but protection from on high thwarts his plan. Raju seems to know his brother is only going to get into trouble trying to do things legally so he stays on task. He even impersonates Yuvaraj to get close to his next victim.


The uniform was a good disguise, but once the hat comes off and the up-do is unleashed all is clear. I think the unbuttoned shirt was also a good indicator.

While Janaki sings to her fugitive Raju over the phone (oh, sorry I must have some dust in my eye), The Boss attacks her. She puts up a hell of a resistance until finally she runs out of room to fight. Raju finds her in a pool of blood. She asks him to kiss her, either for the first or last time, and she dies in his embrace. Raju is a killer and not to be lauded, but his life seems to be tidied away so neatly and with so little left that it’s a bit sad. He loses his parents, his wife, and his kid brother is on a different path.

The final showdown is brutal and silly and epic and even a little bit moving. I wasn’t really expecting one Chiru to take on the other Chiru, but then who else could stand up to a Megastar?

This is probably one for the Chiranjeevi  completists, but it’s not completely without merit for the non-fan. Bhanupriya is wasted in her small role, but Radhika stands her ground and carves out space for Janaki in a man’s story. The plot gallops along, the action is energetic, and there is just enough light relief through the songs. Bonus points for no extra comedy track. 3 stars!