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.

Megastar, mega interspecies communication

Chiru and horse

Happy Birthday Chiranjeevi!

You all may know that each year in Megabirthday month I undertake an arduous research project into the Mega oeuvre and stardom. From a tiny pink-frock wearing monkey companion in Sivudu Sivudu Sivudu, to the excellent horse and dog super hero support team in Kondaveeti Donga, The Megastar has long demonstrated an affinity with the animal kingdom.

Sometimes the wildlife function only as patient observers as Chiranjeevi strutted his stuff, perhaps in mimickry of a (less bedraggled) peacock.

Sometimes the danger was more likely that they would end up sunstruck, or even starstruck.

And there was the ever present danger that someone could catch a chill or lose a finger to a sharp beaked and cranky co-star.

When someone in the costume department has a sense of humour and someone in the dance department is just plain mean, you get faux animals.

Seriously – you didn’t think I’d give up a chance to hit you all with this again? And yet, despite all the everything in this clip, it’s really Chiru’s outfits that make the strongest statement.

And the path to true love apparently requires a slide, a giant egg, and a bunch of randoms in plushie chicken suits. Maybe this is where I’ve been going wrong…

But sometimes Chiru just had to do it himself, and become the spirit animal of his music. Or something.

[I am excluding songs in which Chiranjeevi emerged from a shell, as I do not really believe the mollusc is either appealing or necessary in an actor’s repertoire.]

Clothes maketh the lepidotera (among other things)


And you know, snakes. I will never stop loving that snake dance from Khaidi.


And of course, Chiru clearly felt that his own charisma was sufficient protection against the effects of working with kids and animals.

Sometimes the relationship was more…adversarial. But hey. Saving a cute baby elephant, killing a lion with your bare hands. All in a day’s work for Chiru

And finally, innovative use of an avian accessory for the well dressed ladies man appearing in a bedizened song fantasy. “For you will know by the gleaming band upon his brow and the dove upon his shoulder that He Means Business.” He certainly seems to be quite good at aiming a pigeon. Which small mercy Roja might be grateful for at 2m 06s. Just saying.

So what are your favourites? Add them in the comments and I will add them to this playlist.

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.