Khaidi No 786

 

What a way to kick off Megabirthday2017!

Vijaya Bapineedu’s film opens with married woman Radha (Bhanupriya) going on a journey that clearly makes her sad, which cuts to a defiant Gopi (Chiranjeevi) under interrogation at the police station. Gopi is taken to the office and something makes him so mad he actually flips a table. Then he beats everyone up, has a few choice words for the key players, and gets back into his cell. The film then moves to a long flashback, explaining who Gopi is and how he came to be in the lock-up.

Radha is the daughter of local bigwig and furry suited villain Surya Chandra Rao (Kota Srinivasa Rao). One day Gopi refuses to let her car pass his cart, and she swears vengeance. Clearly the only way this can end is in True Love.

Chiranjeevi and Bhanupriya have good chemistry, and that is tested through a long series of clashes that Radha never really wins. She goes to learn music from Gopi with the intent of punishing him for blocking the road. She storms off insulting everyone, so Gopi goes to teach her a lesson…by lassoing her car then forcing her to dance in what might be a choreographed rape threat. So she tries to run over him and kills his harmonium. So he beats her car up, egged on by the children she almost ran over too. She slaps a kid, and that is Just Too Much. But when she frames Gopi for rape, she gets the whip hand. Literally.

In turn he whips a marriage chain out of nowhere and marries her very much against her will, and as payback. Despite their relationship being adversarial at the start, Radha gives as good as she gets, at least verbally. Eventually Gopi weakens, and finally Radha has her way with him. And Radha’s song fantasies are the worst dressed by far, so there is perhaps an element of payback. At the jail she steals a few moments with him and OMG his smouldering glance is enough to trigger a hideous hat-fest of a song. Love it! She is also the one who initiates the physical relationship, so I felt that they achieved a healthier balance in their dynamic over time.

But Radha’s dad sets up a thug to kill Gopi, and after the attempt fails Asirayya (Mohan Babu) convinces Surya Chandra Rao to kill the henchman and set Gopi up for the murder.  Just as well Gopi is a one man justice seeking machine with a very bad temper!

Chiru gets to show off his athleticism in the fight scenes, throwing himself and his opponents around with verve. I like that Chiru remembers to act while fighting, so Gopi’s motivation and level of fury is always apparent. The action scenes cover a lot of ground and use lots of props, a very entertaining combination. My favourite fight was with the That Guy who wore boots so fancy I was not surprised Chiru would fight him.

There is minimal romance in the dramatic scenes, but plenty of emotion. I liked Gopi’s relationship with his family as the guys seemed affectionate and supportive of each other. But when he was angry – helpfully indicated by scenes of crashing waves – look out!

Bhanupriya is excellent as potentially unlikeable Radha. She was never beaten into submission but came around to the realisation that her dad wasn’t all that while Gopi was rather fine. Radha seemed comfortable making her own decisions, and was resolute when telling her creepy dad that Gopi was her only family and to leave her be. She remained strong through Gopi’s incarceration, even though clearly stressed and saddened by events. When his grandmother (Annapoorna) is killed, Radha is the one who colludes with Silk Smitha to get him to the funeral to light the pyre. The wardrobe department had a go at her in the songs, but she looks beautiful and elegant in her sarees. And when she faces off with her enemies, I definitely got the feeling Gopi was not the only tough nut in the family.

Silk Smitha is great as a good bad girl with an inexplicable thing for Satyanarayana Kaikala and a resourceful approach to life. I mean…of all the men in this film who I might want to get naked, he is not one. In one scene Radha is seeing a lawyer and I don’t know what he says but she starts seeing flashes of Silk which turns into this hideous song where she dances for the baddies and fondles a lot of fish.

The song is also a cover for Gopi’s family to get into villain HQ, although Asirayya sees through the unfortunate blackface disguises. And that is not even the silliest thing that happens.

The support actors generally have a reason for their existence. Satyanarayana Kaikala is funny and avuncular, Nutan Prasad and Allu Ramalingaiah are there for comedic shenanigans and heart. They even have a nice little “I’m Spartacus!” scene in an attempt to buy Gopi some time. Kota Srinivasa Rao chews the scenery and Mohan Babu is slimy and opportunistic. But you know, crocodiles aren’t that fussy about their food.

This is a highly entertaining and a perfect vehicle for Chiru and for Bhanupriya. There’s little you couldn’t predict but a few things you might not expect. And while there is a bit of clueless comedy, there is more collaboration and support when it counts. And crocodiles. 4 stars!

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Bujjigadu

bujjigadu-poster

Puri Jagannadh and Prabhas are a winning combination and while Bujjigaadu lacks the wardrobe excesses of EK Niranjan, it is a fun if ludicrous film.

Little Bujji and Chitti are neighbours in Vizag, inseparable until they have a fight. Bujji always does what Chitti says and she tells him to not speak to her for 12 years, after which she will marry him. He knows he can’t stay without wanting to talk to her so he runs away. Time passes, and Chitti’s family move away. Flash forward and we see our grown hero (Prabhas) beating up goons in Chennai. As evidence of his Tamilification, Bujji is a huge Rajinikanth fan, desperate to get to the FDFS of the Superstar’s latest film. And that leads handily to a corking tribute to the man himself.

Bujji returns to Vizag after 12 years, confident that Chitti will be there waiting. He is distracted and strays into a comedy subplot which results in some jail time. While in jail he is offered 1 crore if he breaks out and kills a man. After a moment of soul searching and confirmation the target was a bad guy, he accepts. After all, he needs money to marry Chitti. Meanwhile she has returned from studying overseas to look for Bujji, only to be sent away by his folks with a flea in her ear.

The pair cross paths, each unaware of the other’s identity. Bujji’s nom de crime is Rajinikanth and apart from knowing Chitti (Trisha) is in Hyderabad, he has few leads to go on. Eventually Bujji discovers that Chitti is the sister of Sivanna (Mohan Babu), the man he was paid to kill but has since befriended. Bujji has been living in her home all along. Sivanna asked Bujji to keep his true name a secret as he knew his little sis would leave home as soon as she found her childhood love. So Bujji agrees, albeit with some conditions.

Bujjigaadu-ogle

Hero and heroine under one roof with the erstwhile villain, more villains breathing down their necks, true love and secret identities…What could possibly go wrong?

Bujji and Chitti still imagine each other as they were in childhood, and their adult selves don’t really hit it off. I wondered how long they would last once they had to spend a lot more time together and the idea of a mutual destiny started to wear thin. Trisha plays Chitti as a little stuck-up, vain and intolerant, but still with some likeable characteristics. Good friend The Mahesh Fan once damned Trisha’s acting by saying she always looks a little more in love with herself than with her hero (Mahesh in that instance) and I tend to agree. Trisha and Prabhas do have an easy rapport but it never seems like a sizzling chemistry.  On the other hand, when Trisha looks at herself in a mirror, all bets are off.

Prabhas is immensely likeable, and despite his slightly dorky charm he can muster up a good death stare and punch dialogue when needed. Bujji is fairly easy going but he is a Telugu film hero so there were a few moments of brain melting ‘logic’ and chauvinism. His declaration that if Chitti said she loved him he would have to kill her because she could only ever love him and she didn’t know who him was so clearly would be guilty of cheating and thus deserve to die made me wish again that every film had a Tight Slap Administrator, and that it was me.

Mind you, Prabhas does get props for his Chihuahua wrangling skills.  And I love how much love Bujji has for Sivanna and his constant calling people Darling.

If we define love as mutual respect and affection with a dash of chemistry, then the strongest relationship in this story is between Bujji and Sivanna. Sivanna sits back to watch his goons take Bujji apart, but instead finds himself cradling his bloody opponent, shouting at him not to die because he loves him. Mohan Babu and Prabhas play off each other very well, and their characters seem more complex when they are together as they get down to the truth of things rather than just posturing.

Of the large supporting cast, MS Narayana is a standout as Bujji’s boozy, soft hearted dad. The scene where he recognised his runaway boy was sweet, and I really do like him in roles where he gets to act and not just be the butt of jokes. Sanjana plays Chitti’s sister Kangana and she is pretty and not completely terrible so I suppose she met the brief.

The villains are Machi Reddy (Kota Srinivasa Rao) and his two lions – Ajay and Supreet. House favourite Subbaraju is excellent as hapless third son Venkat , who seems a bit too sensible and not really hard-core enough for his dad. Sunil and Ali provide more than enough pointless comedy. Brahmaji is Sivanna’s hot headed sidekick. And Mumaith Khan does her thing as a welder/item girl.

I liked that she wore professionally appropriate gear for both her day jobs.

The fight scenes are campy and funny, with lots of flexing and posing by Prabhas. Every single breakable thing on set is utilised, and the sound effects team are given full rein on the biffo and squishy stabby noises. The finale took place on an abandoned film set so there were lots of fragile brick walls and stained glass windows, enough for everyone to have a go. Almost all the boys get to fly about either through wires or effects. I kind of love the moment when Bujji sets his foot on fire, all the better to kick the goons with. That’s commitment. I liked that Bujji could pour out his feelings in Tamil to Telugu people and in Telugu to Tamil friends and thus get to wallow in his woe while keeping his secrets. There were some zingy one liners and some mystifying subtitles, and that all adds to the fun.

The costume department made some interesting choices, and I applaud their application to the task of dressing the overseas backing dancers with only the materials commonly found in hotel rooms and budget clothing chains. And Prabhas takes denim in some unexpected directions. The songs are mostly fun (even if just for the outfits) and help you take a breather in between fight scenes.

Bujjigaadu has a hero who knows exactly how to hit all the right spots in a mass potboiler, and a director with a big budget and a sense of fun.  4 stars!

Yevadu (2014)

Yevadu

It’s unfortunate that Yevadu didn’t get a cinema release in Melbourne earlier this year, as I think it would be a better watch on the big screen with a fan audience. Vamsi Paidipally’s film takes the central concept from John Woo’s Face Off as a basis for his story, but other than that it’s a fairly standard mass revenge saga with plenty of associated mayhem. Charan plays the wronged Sathya, initially out for his own revenge, but then drawn into a different battle. The ideas are good, but the execution is flawed and Yevadu is no place for any rational thought. However if mindless entertainment with plenty of fights and some great dancing is what you are after, then it could definitely fit the bill.

Yevadu starts off well with Allu Arjun in the role of Sathya and Kajal Aggarwal as his fiancée Deepthi, although it’s rather a long set-up for the main story. Deepthi has been chosen by local Vizag Don Veeru Bhai (Rahul Dev) as the latest object of his desire, and saying no is apparently not a viable option. Veeru relies on intimidation and kidnapping his victims rather than natural charm, and while Sathya is happy to take on Veeru Bhai and his gang, Deepthi is rather more sensible and persuades her fiancé that it would be safer to leave Vizag. However Veeru Bhai’s brother (an enthusiastically vicious Ajay) and his merry band of gangsters catch up with the couple and Satya is left to die on the burning bus after Deepthi is murdered in front of his eyes. It’s a fairly brutal beginning but it neatly establishes the character of Satya as an angry and potentially violent man, but also one who is passionate and prepared to do anything for Deepthi.

Miraculously, Satya manages to survive, but is so badly burned that the only hope for his survival is some rather drastic surgery. Fast forward a few months and Sathya is heavily bandaged but recovering in a hospital. The big reveal is that he has been given a new face – amazingly without any scars, and has also managed to acquire a new body and a different voice to go with his altered look. Sathya (now Ram Charan) hasn’t become any more rational or any less angry however, and he runs away from miracle worker/ surgeon Dr Sharada to find Veeru Bhai and make him pay for Deepthi’s murder.

This part of the film almost makes sense, if you ignore the dodgy medicine and coloured contact lenses.  Charan portrays the part of a driven killer with plenty of maniacal determination that naturally follows on from the perpetually angry Sathya of the opening scenes. Sathya has lost everything he ever cared about and the only thing that matters is killing the men who murdered Deepthi, so a certain amount of focused aggression works well. However no amount of cleverly constructed vengeful violence can disguise the massive plot holes or complete lack of plausibility in much of the story.  Sathya somehow finds a change of clothes after leaving the hospital, as well as his motorbike and a camera, long before he goes back to his old flat where he might conceivably have picked such things up. That is, if they were still there after his months of recovery in hospital –  rather a stretch since everyone thought Sathya was dead. Thankfully there is plenty of great dancing to distract from the flimsy story.

Sathya does what any self-respecting Telugu hero would do and goes about taking his systematic revenge. Along the way there is some comedy with Brahmi and a very out of place looking Amy Jackson, but neither of these makes much impression and both serve mainly as a distraction for Veeru Bhai and his gang. Rahul Dev does plenty of sneering and lusting after various women, but after his initial introduction he’s not particularly impressive as a gangster. His gang aren’t ever shown indulging in any typical gang-like activities either, and there is no particular menace associated with any of the heavies. Ajay even sheds his violent persona and becomes part of the comedy, which suits him just as well but also dilutes any sense of threat from the villains.

Everything follows a straightforward and suitably vengeful path until the interval, when Vamsi Paidipally attempts to justify the face transplant idea and Sathya suddenly comes under attack from a different gang of thugs. It’s a change in direction, but that’s all as the film doesn’t become any more plausible or less over-dramatic, and there are just as many plot holes and inconsistencies.

While the disjointedness of the film is  odd, the problem I have with Yevadu lies more in the characterisation of Sathya. The story would be more convincing if there was a greater difference between the personalities of Charan (the original owner of the face) and Sathya, and additionally if each stayed true to those personalities throughout.  Sathya’s cold, controlled fury and drive to eliminate Deepthi killers to the exclusion of all else  suits the initial story, but much of that drive and anger vanish in the second half. While a certain loss of focus can be explained by the lack of a personal connection, Sathya becomes softer and too much like the character portrayed by Charan in flashback. Equally, although the character of Charan starts off as possibly a more intellectual character, as the story unfolds and he gets involved in fighting against the takeover of an area by a gang of thugs, Charan becomes just as cold and angry as Sathya. Keeping the two personalities more separate could have enhanced the idea of a changed face while the personality was still the same, but as it is Charan and Sathya are so similar that the change in face is almost irrelevant.

The second storyline is even more predictable and clichéd than the revenge story of the first half, although Vamsi Paidipally tries to compensate by increasing the volume of the background music and by repeating every significant shot at least three times. Subbaraju, Shashank and Kota Srinivasa Rao bring their usual competence to the roles of the villains but there isn’t anything novel about either their plans to bring a community to its knees or Charan/Satha’s attempts to foil their plans. The second half also suffers from a clunky romance with Shruti Haasan, which feels shallow and contrived after the intensity and passion of the earlier romance between Sathya and Deepthi.

In spite of my reservations about the characterisation and the relatively predictable second half, Yevadu is still a film that entertains. It’s all much larger than life, but the action scenes are well done and Sathya’s inventive methods of revenge are excellent. The various villains are mainly comical rather than particularly intimidating, although some of the minions are nicely evil, while the excessive over dramatisation is just fun! If you can leave logic behind, embrace the absurdity, and revel in revenge then Yevadu could be the perfect masala watch. 3 stars.