Another year, another Megabirthday just around the corner! We’ll be celebrating things Chiru related during August and of course you’re invited.
Pop over to the Facebook page *points at link on righthand side of page* and vote for one of the topics I’ll be writing about, or leave your ideas in the comments. Current suggestions (courtesy of Liz and Katherine) are:
Chiranjeevi’s cowboy years
The many hues of Chiru – a study in colour (but how to pick just one colour?)
Chiranjeevi the Serious Actor
Join in by posting on your own blog, let me know, and I’ll collate and publish the links. Or just watch for the #megabirthday2014 hashtag on Twitter and have a chat about all things Chiru. Like this.
If your eyes still work after the 2m 44s mark, check out those boots! And those moves.
Chiru as a cowboy! Hidden treasure! Radha as a jungle warrior princess!
While I love a lot about Kodama Simham I am going to begin with a caveat. There are some horse stunts that turned my stomach. If that would worry you, have the fast forward button at the ready. In a couple of scenes it did look like the horse that went down got up and ran past the camera so maybe I am overestimating the likely damage. But it is something that makes me wary of this genre, no matter what industry made the film. And it seems a bit rough when it is a horse that saves the hero at a critical point.
Bharath (Chiru) is a gunslinger – the good kind – picking up the bounty on criminal types. Bharath manages to upset the local purveyors of iniquity. His parents are killed, but not before his dad tells Bharath he was adopted and to go look for his biological parents. His father Dharmadev (Satyanarayana Kaikala) hid some treasure to keep it safe, but was forced to go into hiding while Bharath’s Ma was jailed. Bharath must retrieve the treasure, clear his parent’s name, and give the bad guys their comeuppance. Simples!
I’m not sure what time period this film is meant to be set in. There are few reliable fashion indicators.
Horses are the only form of transport although there does seem to be a lit-up fish tank and a jukebox in the saloon. There are what look to be Native American styled natives, as well as a forest dwelling tribe of non-specific plumage. Plus the (possibly) cannibal cat-people guarding the hidden treasure.
There are hangings and shootings galore, and justice seems to be an individual pursuit. Well, Brahmi is the local police so I can’t blame anyone for deciding to go DYI. Bharath disrupts an auction where young ladies are being sold to men or brothels, sets the captives free with a cheery “All the best” and that seemed to be the end of that. Swapna is chased for the umpteenth time by men of bad intent and runs into the jungle, leaving her girlfriends for dead. Nice. She meets Dharmadev who tells his boys off for their lack of manners and again, that seems to be the end of that. There is a pleasing finality to some of these issues: “You’ve been told, now bugger off and don’t do it again”. “OK”. If only that worked in real life.
While the title cards said K Muralimohana Rao directed, at times I suspected the film was being ghost directed by the Hat Department. Telugu cowboy films always turn it on for the headgear, and this was a corker. Behold!
Chiru’s hero entrance starts, as it should, with his boots before the rest of him swaggers in to view.
Unfortunately it is hard to tell on a grainy VCD print, but in one scene if his boots aren’t bulletproof, they come close. He has a laconic style and an extensive collection of guns. But what makes him an unstoppable Hero is his self-belief and righteousness. There is a touch of Clint Eastwood in how Bharath is styled – he wears a poncho with panache (probably all that practice Chiru has twirling capes) but Chiranjeevi puts his own stamp on the role. Bharath is a dancer and a ladies man as well as a capable fighter and filial son. Directors must have count their lucky stars to get a hero who could dance and fling himself around in action scenes and do the horse riding scenes as well as being ladybait. The story builds up to an all-in confrontation, and Bharath does follow a fairly logical path to that conclusion, even if the steps along the way strain the elasticity of my disbelief suspenders.
Could one heroine suffice for such an exemplary hero? No.
Swapna (Sonam ) is the mayor’s daughter. She has a penchant for making bad art and wearing terrible outfits.
Bijli (Radha) could probably be described as a tribal princess. She likes hunting, shooting and wearing bad outfits. There is some common ground for these ladies if only they could see it. It took me a while to place Sonam but then it hit me. The vacant stare, the pout, the head tilted on the side – She was in Ajooba! Maybe her career is worth investigating further…. Radha of course was an established heroine in South films at this time, and Bijli is the more substantial of the female roles. She looks like she had fun playing the kickarse leader and Bijli and Bharath were the main drivers of many of the revengey plans. Sadly for Bijli, Bharath seemed to be drawn to the girl who did enough stupid things that he would be kept fully occupied in saving her.
Pran is the dastardly Mayor. He is first seen reading a proclamation off a fancy silk scroll before ordering the hanging of an assortment of extras. I was so pleased when I recognised him but somewhat disappointed that he was in such a stereotypical role with little scope for him to really work his villainy. Still, Pran! Always fun to see worlds collide even if he did try and have Chiru’s eyes out with a red hot poker.
Mohanbabu is the pungent Suddigaali – everyone sniffs when he turns up and no one looks pleased with the result. He is a cartoonish villain but his spaced out reactions and bizarre logic made for some entertaining scenes. Sudhakar is the Mayor’s bumbling accomplice and does his usual shtick. Kannada Prabhakar is a more flamboyant and sociopathic bad guy.
There is also that guy, who looks like a) Jaws from the Bond films and b) he stole one of Chiru’s costumes. There is a villain for all seasons in this film.
This is one of the films where I wait eagerly for the songs. Every picturisation has its own kind of awesomeness, largely fabric based. Raj-Koti’s songs are fun and Chiranjeevi makes the most of the choreography. I choose to believe his dancing on the ceiling was a tribute to Fred Astaire rather than Lionel Richie.
Sadly few of these songs are available on YouTube or the like due to the egregious copyright claim shenanigans. I cannot fathom why a company with no apparent interest in promoting or preserving the old films they allegedly own would object to short clips being shared online when they don’t have their own version uploaded. I’d get it if they were worried about loss of ad revenue, but often I am mystified. Unless they’re worried someone will try and buy a copy.
See this, if you can find a copy, for the full tilt tongue-in-cheek mass style transplanted to Cowboy Country and the pleasing commitment to justice and hats. Chiru is in fine fettle and Radha is an excellent foil. The more is more approach means you’ll never have long to wait for the next song, dance, fight, demonstration of how to transport a treasure chest across a gorge or costume change. 4 stars!
This year I asked you, dear readers, for input into the theme of one Megabirthday post. You voted for Chiranjeevi’s socks. And you probably have the cheek to think I’m strange.
The Mega Sock is a vexing area of research. Being a fashion chameleon and trend setter, Chiru rarely settled for one standard approach. He changed his socks as often as he changed his moods. I have gathered some examples to illustrate the versatility of his sock choices, a style contribution often overshadowed by the flashier go-go-boot department.
The unified thematic sock
White trousers, white socks, white loafers. A safe choice for the Telugu film hero.
Or matching shirt and socks, also a filmi classic.
The artistic contrast
Sometimes the contrasting sock was more than just a fashion statement. I am reminded of Audrey Hepburn’s refusal to wear white socks in a dance scene in Funny Face, claiming it would break the line of her leg and look inelegant. But she capitulated and in the end result, the white socks actually enhanced the dancing as they allowed viewers to see her footwork against the dark background of the set. I like to picture Chiranjeevi quoting that anecdote when directors tried to challenge his footwear choices.
The statement
Sometimes a mere bedazzled outfit and flashy shoe is Just Not Enough. Why let the whole outfit down with boring ankles?
The comedic effect sock
Well, I hope it was meant to be funny.
The invisible sock
I have long marvelled at Chiranjeevi’s ability to carry off the rather challenging mini-toga and go-go boot combination. And while it may seem there is little left to the imagination, I mean, you’d have to have the right socks. Think about that. The sock could be utilitarian, or a secret splash of extra sparkle designed purely for Chiru’s amusement.
And then there is the negative sock. Cross-gartered to the knee, Chiranjeevi proves that the absence of a sock can still make a statement. Especially when paired with silver pedalpushers and a corset.
Leg warmers and gaiters
Not a sock proper, nor a boot, the legwarmer makes occasional appearances through Chiru’s career.
Chiru combines an eye-popping fashion statement with sensible thermal layering.
Is that a legwarmer he is wearing as a glove?
I like the bedazzled gaiter effect with matching gloves. In the absence of the more traditional bedazzled boot, Chiranjeevi still seems to find a way to embellish his foot region.
The Mega Sock Style
And finally, an example of Chiru mixing it up with a Tip Top Look combining several mega sock styles. See which ones you spot (if you aren’t blinded by the gold pants).
Happy Megabirthday!
Edited to add: Totally Filmi has hand dyed the perfect sock yarn to adorn a mega stylish ankle. Go see the results!
Cinema Chaat 