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!
Chiranjeevi and Lakshmi star as siblings out for vengeance against the three men who killed their father and older sister and tortured the rest of the family. Durga (Lakshmi) grows up to be a police inspector, while Vijay (Chiru) takes a more DIY approach to justice. It’s not a ground-breaking story but I liked that director S.A. Chandrasekhar kept the focus on social justice and how different laws apply to different people.
After making an entrance swearing vengeance by two graves, Chiranjeevi is quite low key for much of the film as he only has one job. Vijay is pretty much on task for the revenge all through the story, and even his romance with Rekha (Madhavi) ties into that main plot thread. He is extremely self confident and never seems to question whether his is the right path. He often undermines his sister’s career and that seems to be OK with his mother. Vijay has no discernable occupation other than being the hero so I was a bit impatient with his attitude to Durga, but they are both obsessed with getting their own idea of justice.
Lakshmi is Durga, a police inspector who demands that the legal system provide justice for her. She is an interesting character as she has a lot of the same traits as Vijay – the confidence, the belief that hers is the only righteous way, and putting her priority (the law) ahead of her sibling. Lakshmi mostly has to scowl and shout, occasionally breaking the routine with a bit of shock horror or a rare smile. It’s not a complex performance but I admired the strength of her character and liked that she didn’t resort to getting shrill or calling her brother for help. She took everyone on and believed she could win.
The long suffering Ma (Pandari Bai) is often caught between her bolshie children and just seems to want a quiet life after all the death and mayhem.
Maybe she should have given them separate bedrooms. Or less seizure-inducing décor.
Madhavi is the nightclub dancer Rekha, and being an adventure without subtitles I think I missed the explanation about how she ended up at the cabaret. She lived with her father or maybe uncle, and seemed to have a clear delineation between work and home life.
She certainly didn’t tolerate anyone treating her as a whore and was quick to threaten any disrespect with a chappal. Madhavi and Chiru have nice rapport and I liked that Vijay seemed to accept Rekha without the need to tell her off about her situation or blame her for being a skanky item dancer. Durga doesn’t like Rekha and clearly thinks she is no better than she ought to be. The tension between the two women mostly originates in Durga’s judgemental nature. Rekha seems quite content with her lot, and is happy to abet Vijay as he realises the man who abducted and attacked her is the man with coke bottle glasses who helped kill his father.
There are a few surprises in the plot, mostly in Vijay’s elaborate execution set-ups. He recognises his intended victims by some very odd idiosyncrasies, and uses their weaknesses. I am not sure exactly why John (Hemasundar) the very short sighted guy had pigeons, a dog and – horror of horrors – a scrawny kitten let loose in his apartment before being sent into traffic minus his glasses. I suppose it made a change from generic biffo. Janardhan (Ceylon Manohar) had a revolting habit of flicking cigar ash into his glass and drinking it, so he deserved to die just for that. But Vijay got him so drunk he was easily dealt with. I also liked that his obliging corpse would shuffle around in the bathtub to make sure it was in shot as required. The third killer Javed (Kannada Prabhakar) was a serial rapist and murderous villain, so again no need to feel conflicted over his imminent demise. The thing I found most intriguing was the unresolved conflict between Vijay and Durga. She was unapologetic and disapproving to the end, with no sign of the usual capitulation to the man of the family.
Vijay and Durga get almost equal screen time, but he gets most of the songs. Not saying that is a good thing, but I do like a bit of sequinned revenge disco, especially with disguises. Even with the, er, décor at this classy (?!) establishment.
The title song is set over a montage of contrasts between the rich and poor. And a cat and (dead) rodent. I’m used to seeing lots of chickens or rabbits in Telugu films but this one is more cat centric.
Now can anyone tell me, was 1981 a big year for the zipper in Indian fashion? Madhavi is abducted by one of the baddies and he gleefully has at her multi-zippered playsuit. Chiru sports a very peculiar onesie with feature zippers that is not exactly flattering to the stockier gentleman.
And he wears many very disappointing beige outfits, often with extensive sweat marks that seem to indicate a bit too much synthetic fibre.
The fight scenes are numerous and very energetic. There is a vague martial arts flavour to some of the fight choreography and no prop survived unscathed.
The film also uses a lot of stills montages – particularly for the final courtroom scene. I guess they ran out of Chiru hours and just decided to wing it. It works well enough, and I did find the lawyers posturing highly amusing.
Probably a film for the Chiranjeevi completists, I still found a few things that were unusual or interesting enough that I’ve been thinking about the movie for a while. So many Telugu films locate justice outside of the legal system but the sibling dynamic was an interesting lens through which to view the different perspectives. Chiru, Lakshmi and Madhavi are accomplished and deliver strong characterisations and a range of emotions. It’s not a masterpiece but it’s a good example of Chiranjeevi’s vigilante style hero that became such a trademark. 3 ½ stars!
One of the (many) things I love about Chiranjeevi is his willingness to take on any style of choreography and to perform it as best he can. I am particularly fond of his many classically influenced dances. He may not have classical technique, but he can still be compelling and entertaining as he gives it his all. Plus there are usually excellent outfits. Here are a few of my favourites.
This clip from Subhalekha is a nice sample of straight up attempts to master the choreography. Not all equally successful, but visually pleasing nonetheless. I don’t know about the rest of you, but I’d buy an Allwyn fridge if it came with a svelte Chiru draped over it!
Chiru as mild mannered dance teacher versus the determination of Jayamalini and Jyotilakshmi. Ladies, I understand your motivation if not your wardrobe choices. (Enjoy the dancing, and don’t read the comments).
Tempted from his meditation by Madhavi, Chiranjeevi transforms into a blingy dancing vision (with sparkly sandals). (From Khaidi, 1983)
Sometimes the classical moments can be a bit surprising. A glimpse of Kathak styling (at 3m 20s) in this appropriately birthday themed song from Big Boss.
And even less explicable – but this song does bear out Chiranjeevi’s fearless attitude to dance and sequins.
Chiru looks amazing as Shiva, with smouldering eyes and strong physical presence. He moves with fluid purpose and intensity in this clip from Aapathbandavudu when Shiva attacks his enemies (around 5 min). His appearance as Shiva in Sri Manjunatha was less appealing, but I blame some of that on uninspired choreography. There are clips on Youtube if you’re keen.
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And then there’s one of the sillier tandavs in terms of costume, choreography and dishooming sound effects, but I love it. (From Sivudu Sivudu Sivudu)
And while I’m on the subject of Chiru in lycra bike shorts, I can’t help but recall this. Snake dances are classics too!
What are your favourites? Share the links, share the love 🙂
Cinema Chaat 