Govindudu Andarivadele

Govindudu Andarivadele

Soaring melodrama, fantastically colourful sets and Prakash Raj are the stand-outs from GAV. Add in Charan, who has definitely improved on his emoting, and you have the bones of Krishna Vamshi’s family drama that mostly delivers what it promises. There are plenty of emotional scenes as Abhiram (Charan) attempts to reunite his family in England with the rest of his estranged relations in India, and of course there’s some local trouble and a romance thrown in for good measure. While most of the film seemed to live up to Krishna Vamshi’s preoccupation with family values, there are a few scenes here that seem to be a hold-over from a less pc era, and stand out as glaringly sexist and just plain wrong. However the rest of the film is entertaining enough despite a storyline so overused that the lack of subtitles was really never an issue!

The story opens with a déjà vu from K3G as Abhiram demonstrates just how well he can play rugby when the opposing team fail to follow the rules of the game and actually attempt to tackle. Real rugby players end up covered in mud and crushed under a few tons of Welsh full-back in my experience, but apparently not in Vamshi’s world. Abhiram lives in a very nice pad in London with his father Chandrasekhar (Rehman) and his little sister whose name I didn’t catch. Unfortunately Chandrasekhar misses out on an appointment to be Dean of Medicine at a London University and interprets this as karma due to an old rift from his own father.  No academic politics in Vamshi’s world either then, I presume!

Overnight Abhiram decides that he will be the one to make all right for his father, and heads off to India to do what he can to bring the families back together. Sadly though, he doesn’t take time to remove his rather odd pony-tail which I can only assume must have been an attempt to look ultra-hip and cool – London-ishtyle. Not my favourite look for Charan, but it did grow on me as the movie went on.

GAV - Charan

Things definitely look up once Abhiram makes it to India, does all the usual touristy things, and then heads off to his grandfather’s village. Following the standard family reconciliation template, Abhiram makes contact with the rest of his family anonymously by pretending to be a visiting agricultural student who wants to learn from family patriarch Balaraju (Prakash Raj). Balaraju runs his family and the village with a benevolent but very traditional hand while stopping his brother (Kota Srinivasa Rao) from clearing and developing the area. Living in the wonderfully pink and majorly over-decorated mansion is also Chandrasekhar’s wastrel brother Bangari (Srikanth): a man with an unfortunate propensity for mesh singlets and garish shirts. Oh, and he drinks, gambles and tries to kidnap and rape his potential bride, Chitra (Kamalinee Mukherjee). This is one of those scenes that really should never have made it in to a film in this day and age, and it does feel completely anachronistic with the rest of the story. Equally disturbing is Abhiram’s use of some photographs he has taken of his cousin Satya (Kajal Agarwal) dancing in Western clothes as a way to blackmail her. This is straight out bullying and sexual abuse, and I find it hard to believe this got past the censors in an otherwise ‘family-friendly’ film. Thankfully Satya does manage to effectively deal with Abhiram’s harassment, but it makes their subsequent romance initially less believable and Abhiram appear as a bit of a prat.

The rest of the film is much better, and that’s mainly due to excellent performances from Prakash Raj and Charan. Prakash Raj is perfect as Balaraju and he knows exactly how to play the strict but compassionate head of a large family. He never puts a foot wrong and wrings every possible drop of emotion out of his time on screen. He even manages to make stick fighting and motorbike riding emotional events, as he unknowingly bonds with his grandson. Jayasudha is just as good as Abhiram’s grandmother, and again she manages to take her overly emotional scenes and tame them down to something more realistic and believable.

Charan gets a chance to show that he can play more than just an action hero and he definitely rises to the challenge. His Abhiram has more shading than other characters I’ve seen Charan play, and he conveys plenty of emotion and feeling in his speeches, even though I couldn’t understand a word! Despite the initially rocky start, there is plenty of chemistry and some major sparkage in the romance between Abhiram and Satya. Charan is one of the few actors that interacts well with Kajal in this respect and their romance really does light up the screen. Charan does manage to stick close to his real love though, as seen in this song mainly set in and around Petra. I wonder if it’s written into every contract that he must get at least one scene with horses? Kajal gets rather short-changed in the choreography here, although Charan doesn’t actually get to dance much either and sadly most of the songs have more emoting than dancing.

The rest of the cast are all capable and fit well into their roles. Rao Ramesh, Posani Krishna Murali and Adarsh Balakrishna are part of Kota Srinivasa Rao’s opposing family but never feel terribly menacing. Adarsh’s character is mainly just very shouty and aggressive, and the various fight scenes, which appear to have been structured around rugby tactics, aren’t up to Peter Hein’s usual high standard. The film looks gorgeous though. The pink palace is amazing – Satya has a stunning peacock painting on her wall, and most of the other rooms are similarly adorned with fantastical artwork and gorgeous furniture. I would live there!

GAV - the pink palace

The emotional quotient does head into overload at times and the ending is particularly excessive, but that doesn’t really seem to matter since the whole point of the story is overblown sentiment. As a straightforward family drama GAV works well enough despite the cliché-ridden storyline and the strong performances help push it over the line. Well worth watching for Prakash Raj and Charan, particularly when you can marvel at the wonders of the pink palace as a bonus.

Sri Anjaneyam

Sri Anjaneyam is one of those films that I find it hard to make up my mind about. There are a lot of things I enjoy; it has great special effects, an interesting storyline and excellent performances by Nitin and Arjun. But I really don’t like Charmy’s character in this at all, and I find the whole romance sub-plot unnecessary and irritating. Re-watching it for this review, I found that it’s perhaps growing on me and on balance there is more to like than not. But I still wish Krishna Vamshi had left the romance out.

The opening credits have some beautiful pictures which show scenes from Lord Hanuman’s part in the Ramayana.

The film starts, as many Telugu films do, with Prakash Raj. He’s a civil engineer who has come to the drought strickenvillage of Ramapuramto build a dam which should solve the area’s water woes. But he meets with opposition from a local with political aspirations who organises protests and a legal challenge to stop the project. Brahmam is annoyed that he hasn’t got control of the project himself, and thinks that the dam will allow the villagers to become wealthy and independent from him. I love the model below which comes complete with water and gates to change the flow – no wonder Prakash Raj looks happy.

Finally Brahmam sends his brother (who goes by the rather unlikely name of Tarzan), to kill the engineer and his wife. Tarzan isn’t aware that the couple have a son and as a result he is overlooked by the thugs. Alone on a rainy night, the young boy is led to the local temple by a helpful monkey, and takes refuge there. The priest and the villagers take it on themselves to look after him and he grows up devoted to Lord Anjaneya, leading to the villagers calling him Anji.

He’s very devout and grateful to the people of the village, spending his time between helping the priest in the temple, running errands for the villagers and worshiping his ‘boss’ Lord Anjaneya. The story has an almost fairy tale effect in these scenes as the colours are bright and initially Anji’s character is quite simplistic as a spiritual man who is lives to serve to his God.

Anji is a target for the local trouble makers, but he has a stalwart defender in the form of his childhood friend Pardhu. She’s not afraid of a fight and threatens anyone who tries to hurt Anji. When he saves her from a snake bite, she falls in love with him and puts a lot of effort into her campaign to ensure he marries her. Her attempts are probably why Anji looks horrified every time he sees her and runs quickly in the opposite direction. This whole side plot with Pardhu is the part that I don’t like. I think her character is supposed to be feisty and independent but she comes across as an over powering bully and her attempts to attract Anji are quite repulsive. She has a song during which she rolls around very unattractively in mud and while there are a few good moments they are few and far between. I usually like Charmy and I think she is a good actress, so I find it disappointing that her character here is so annoying and has some really terrible lines.

Meanwhile, Brahmam is still scheming and conspires with an evil magician to get rid of his political rival. He discovers a potential source of wealth underneath the local temple and immediately starts planning a way to get rid of the priest and demolish the temple.  However, he has reckoned without Anji, who has supreme confidence that Lord Anjaneya is already on the case and will once again sort out Lord Rama’s problems. His confidence is well placed as Lord Anjaneya does turn up although his aid is more to point Anji in the right direction to fulfil his fathers dream.

There are some really good special effects in this film and a few that don’t work quite so well. But they do make the appearance of Lord Anjaneya quite spectacular, and there is one particularly good sequence when he takes over a statue to fight off the local thugs.

The film develops slowly in the first half, but the pace picks up when Lord Anjaneya (Arjun) arrives. Arjun excels in his role and walks as if he had a tail, scratches perpetually and absentmindedly, and adds in some authentic shrieks and noises as he advises Anji.  He also has the ability to pass on some of his super strength, both of body and mind, which enables Anji to fight Brahmam’s men successfully. The rapport between Anji and his mentor is the best part of the film and the two actors work together very well to bring their relationship to life. Lord Anjaneya is very mischievous and there are some lovely comedic moments amongst the more serious and spiritual advice.

Nitin looks young and innocent as Anji which fits with the character’s spiritual side very well. I could also appreciate his horrified looks every time he ran into Pardhu as I felt much the same. As his character grew in the film Nitin showed an increase in Anji’s confidence while still maintaining his simplicity and this worked very well. Anji was charming and also goofy and funny enough to be a very watchable character.

The various actors who played Brahmam, the evil magician and assorted thugs were all good in their roles. The demon summoned by the magician was one of the special effects that didn’t really work, but the magician himself was quite evil enough to compensate. Interestingly Tarzan was shown to have a conscience and told his brother that all his bad deeds were the reason behind his miserable life. I thought this was a different approach, and helped to explain the conversion of the rowdies at the end of the film.

The story is one of good versus evil both spiritually with the evil magician and his demon against Lord Anjaneya and physically with Brahmam and his thugs against the priest and Anji. But there is also a coming of age part to the story as Anji decides to take on his father’s dam project. I must admit that there seemed to be plenty of water in the village and it was really quite green so a dam didn’t seem to be terribly necessary, but perhaps they’d just had a really good rainfall that year. Other plus points to the film are the wonderful colours and cinematography which, along with the special effects, make it a beautiful film to watch. The music by Mani Sharma is based on chants and this blends in very well to the film. The more modern duets don’t work quite as well but this one is very pretty.

The film is worth watching for the excellent performance by Arjun and his interaction with Nitin. And if like me you don’t like the romance, it’s easy to fast forward past those sections. Generally an enjoyable watch, but could have been better. 3 ½ stars

Temple says: This is a muddle of a film that ends up being an unsatisfying venture. Anji (Nitin) is a holy innocent – a simple man who finds his happiness and strength in his faith, and views his life as a blessing given by god. He has a childlike naivete but also the adamant strength that an uncomplicated resolve can bestow. Pardhu (Charme) didn’t strike me as a real bully. I felt she was also quite childlike, getting by on bluster and clearly being allowed to indulge in her histrionics by people like the smitten local rowdy rather than having any real force to exert. Certainly when a bit of dishoom would have been useful she was firmly on the sidelines.

The acting style was quite cartoonish and upbeat, the visual effects were mostly aimed at younger viewers and this had a family friendly feel initially. It reminded me a little of Krishna Vamsi’s earlier ‘Murari’ but with a more overt devotional aspect.

So I am mystified by the decision to add a highly sexualised and out of place relationship (I can’t call it a romance) track. Pardhu was a bit freaked out by her reaction to Anji sucking snake venom from her chest, and he was horrified by her and her girl germs. These two childlike characters were then placed in songs where Charme had to thrust her scantily clad groin into a stream of pouring milk, roll in mud and so forth. I’m very pleased I’m not one of the parents who had to answer the question ‘Mummy what is that lady doing? And where are her pants?’. When Pardhu suddenly started obsessing about Anji, her relatives said they would help her to tie him to a tree, take his pants and leave her to rape him. This advice horrified her.  It made no sense in terms of their characters and really didn’t work in the overall tone of the film.

The costume designers worked hard for the songs and certainly put the F back in Fugly. It was disappointing again as the rest of the film was quite beautiful, and the cinematography made the most of the lovely temple and village scenery. The other major let down was Nitin. He needed more spontaneity in his expressions rather than stop-think-react-pull a face as it all felt a bit tired, and like I was watching the 17th take of some shots. The story itself needed work – the dramatic aspect of the dam scheme and the murders kept getting sidelined and then would come back then fade out again.

I agree with Heather that Arjun is very good as Sri Anjaneyam and he gave the scenes with Nitin some much needed energy. He showed his confusion at learning to act human, and brought mischief and compassion to his character. Charme did all she could with a ridiculous role.  Prakash Raj was seen all too briefly, but made a great impression with his excellent use of props and his commitment to dying a memorable death.

I can’t recommend the film as there are too many things I didn’t enjoy. You know it’s bad when I have so many things to complain about I can’t even be bothered mentioning the dreaded Comic Side Plot. 2 ½ stars.