Saaho

I didn’t read any reviews before I went to see Saaho, but I’d seen comments on social media that were mostly negative. So I wasn’t expecting great things from the film, and perhaps that’s why I enjoyed it much more than I expected. Sure there are plenty of flaws, including a confusing story, poorly developed villains and far too many songs, but I loved the action, all the special effects and especially the imposing presence of Prabhas. Think standard Telegu Mass on VFX steroids, and that’s pretty much what you get with Saaho. Logic has never been high on the agenda for these kinds of films, not when directors can just blow up, beat up or shoot up everything in the hero’s path and writer/director Sujeeth follows he standard formula here. Nonsensical yes, but entertaining – definitely!

Let’s talk about the negative aspects first. The film opens with a confusing array of characters, not helped by long, complicated sentences of subtitles which vanished off the screen too quickly for me to read them. Then, the introduction scene for Prabhas is surprisingly poorly executed. Who is the man he is trying to rescue from a bad situation with a gang of thugs? There is some by-play about a whistling pressure cooker to give Prabhas a set time to carry out the rescue, but then there are no whistles – why set this up and then fail to deliver? And when this character reappears, his part in the finale is so rushed and poorly subtitled that I have no idea what exactly he was supposed to be doing. So, we’re off to a bad start, which is compounded by key events being rushed through and important characters appearing and disappearing without any clear idea of who they are and what role they play in the plot. It’s not helped by the subtitles which sometimes took me some time to work out and even with my bad Telugu I could tell that they missed a lot of information. The list of bad guys grows longer and longer, on top of which their alliances change, there are numerous double crosses and their relationships to each other are poorly described, so after a while the best idea is to stop trying to figure it out and just enjoy all the mayhem!

And the mayhem is what works very well here. This is where all the money was spent, and the result is slick and fast paced action with excellent fight scenes and lots of explosions. There are fast cars, motorbikes, even chase scenes with heavily armoured trucks and excavators but perhaps the most ridiculous involve men wearing mechanical flying suits and Prabhas carrying out some do-si-doing with a helicopter. At one point, at the end of a song, for no apparent reason there is a tank that drives over a couple of cars. It’s like they had a few thousands of dollars left and decided that adding a tank would complete the line-up of transport options! Throughout it all Prabhas is a tower of strength and stays true to the Telugu hero ‘code of conduct’ by endeavouring to single handedly take down all his enemies, be impervious to bullets, indestructible regardless of whether there are crashes, explosions or he leaps off a cliff without a parachute (more on that later), and of course still find time to romance the girl, talk tough and always, always look ultra-cool!

After the initial confusion the film settles down with Prabhas as an undercover cop who has been seconded to an investigation team after a series of burglaries in Mumbai. Amritha (Shraddha Kapoor) is the nominal female detective who is continually shunted aside by her boss Shinde (Prakash Belavadi), while tech specialist David (Murali Sharma) and Goswami (Vennela Kishore) round out the team. The police think they spot the thief (Neil Nitin Mukesh) on CCT and the team then devise a super complicated plan to bring him in. This involves convincing him to steal a ‘black box’ which is vital to open a vault full of money and gold in the gangster city of Waaji.

Waaji is a super high-tech city run by the Roy corporation headed by Narantak Roy (Jackie Shroff). After his assassination, Devraj (Chunky Pandey) is poised to take over the cartel when Roy’s previously hidden son, Vishwank (Arun Vijay) appears and thwarts his plans. The various cartel members are each trying to take over the top spot, but key lieutenant Kalki (Mandira Bedi) supports Vishwank, although his position is far from secure and he needs the black box to be able to pay off the various cartel members. The action moves to Waaji in the second half after the black box is stolen and Saaho (Prabhas) becomes involved in the power plays by Devraj and Vishwank.

Most of the Southern Indian actors play their usual kind of roles well here. Tinnu Anand is good as Devraj’s disabled father and Arun Vijay does well as Vishwank despite the dodgy writing while Supreeth and the cast of support thugs are suitably OTT. Mahesh Manjrekar has a reasonable role as one of the cartel members, but Madira Bedi is probably the best realised of these characters and I love her smooth operator approach to playing a gang member. The rest of the Hindi actors are a bit hit and miss. This might be more due to the language problem as they were better when speaking in English. Jackie Shroff is probably the best of the lot, possibly because he has only has a small role to play and little dialogue. Neil Nitin Mukesh seems uncomfortable throughout and Chunky Pandey desperately overacts every time he appears. To be fair, Shraddha Kapoor is pretty good in a more action-based role and she does have reasonable chemistry with Prabhas in their romance scenes. The problem is the songs, which don’t fit well into the narrative and don’t add anything to the story. This is an all action film, and the songs act as speed breakers, taking the audience out of the story. Probably the best is the Jacqueline Fernandez item number, which is just ridiculous enough to fit the plot, with the previously mentioned tank, machine guns, and lots of scantily glad women in a swimming pool.

Sujeeth however is equal opportunity in objectifying his stars, and Prabhas gets to jump off a cliff wearing nothing but ripped jeans, but only after he throws his parachute off the edge first. It’s that kind of film. Shraddha Kapoor actually comes off pretty well in the costume stakes, wearing generally sensible clothes, apart from in the songs. Prabhas looks uber-cool wearing cropped pants and trendy loafers once he gives up the denim and leather look of the first half.

Saaho is a fairly typical Telugu action hero film. The story doesn’t make a lot of sense and the cast of thousands list of characters is confusing, but there are some good ideas in there that would have worked better if they’d been kept simpler. Having lots of special effects doesn’t hide the limitations of the story, but it does make it fun to watch. I saw the Telugu version at a fairly full theatre in Melbourne, and most of the audience seemed to be enjoying the film as much as I was. We did all laugh at scenes that I think were supposed to be dramatic and tense, but there was plenty of applauding and cheering whenever Prabhas got to obliterate (literally!) the bad guys. All up, Saaho is simply entertaining and a fun piece of visual theatre. One for fans of Prabhas, mayhem and OTT mass action.

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Bhaagamathie


Anushka carries Ashok’s hodgepodge of horror and suspense, reinforcing her credentials as a leading actress. While the concept is good, the visuals are (mostly) impressive, and the cast is strong, the pacing is a little off and Ashok is heavy handed with the “twists”.

In an attempt to stymie man of the people Minister Eswar Prasad (Jayaram) in his path to the CM job, hard nosed Vaishnavi (Asha Sarath) and an ACP with convenient ethics (Murali Sharma) are told to get the dirt. Eswar’s former secretary, IAS officer Chanchala (Anushka), is serving time for killing her fiance who just happens to be the ACPs younger brother. She is taken from her cell for an unofficial interrogation and relocated to a decrepit old mansion in a spooky forest setting. What could possibly go wrong?

Chanchala and Vaishnavi play cat and mouse as Chanchala insists she is answering truthfully while not saying what Vaishnavi wants to hear. But after the interrogation sessions, Chanchala is confined to quarters with only the work of the VFX team to keep her company in the mouldering splendour of Bhaagamathie’s palatial home. And who is Bhaagamathie? Local legend says she is a demon, history may indicate she is a queen who trusted the wrong person, or is she just a figment of Chanchala’s imagination? Is Chanchala haunted, mad, or possessed? Murali Sharma (whose character name I forget) wants Chanchala dead and is quite happy to see her suffer at the hands of unknown possibly demonic tormentors. Comedy officers played by Prabhas Sreenu, Dhanraj and Vidyullekha Raman bumble around and add credence to Chanchala’s claims of supernatural goings on. What is really happening in that house? And if Chanchala is playing at being mad, what is her end game?

Anushka takes everything in stride and delivers a superb performance. Ashok throws in some Arundhati references, but Chanchala is a different woman. She is rational and curious, and goes looking for what caused that bump in the night. She knows the game the CBI is playing and will not perjure herself just for her own freedom. She is strong and ethical, and people maybe should have paid more attention to that facet of her character. Her fear and determination to survive are palpable. There are times where Chanchala seemed to be playing a game with her captors and I genuinely didn’t know what to believe, was she duplicitous, or you know, possessed and innocent. I was impatient to get back to Chanchala when she was not on screen. Whether you believe her condition is spiritual, psychological, or fraudulent, Anushka’s performance packs a wallop.

The supporting cast is strong but most of the roles are cookie-cutter and have no subtlety or sense of inner life. Jayaram is too good to be true as the people’s pick. Murali Sharma does well as the conflicted cop, but his character is written with little ambiguity so there is not much tension when it comes to crunch time. He does what the script needs, not so much what his character’s past actions might have indicated up to that point. Asha Sarath is strong and Vaishnavi is a good foil for Anushka but again, Vaishnavi is following the demands of the plot and sometimes they forget to write her brain into key scenes. It was nice when it made a come back. Unni Mukundan appears in several flashbacks as Shakthi, Chanchala’s murdered fiance. He was fine, but again his character was written to do things to fill a gap in the plot so he was limited with what he could bring to the table. Thalaivasal Vijay plays a character that surely had to be a reference to the doctor in Chandramukhi or Manichitrathazhu. And then he disappears, never to be mentioned again.

While the visual design is excellent and the atmosphere really works to add a sense of mystery and creepiness, Ashok messes up the pacing of some of the revelations and the logic doesn’t always bear scrutiny. He seems to prefer to show and tell and show again rather than assuming his audience has seen the same movies he has or that they can follow the breadcrumbs and reach their own conclusion. There are nods to Manichitrathazhu, Arundhati, the Usual Suspects, but not all are seamless or successful. The first half is all about building the supernatural element and reinforcing Chanchala’s status as a murderer. Then when she is finally removed from the scene after a night rich in incidents and mayhem, there is a sudden shift. The supposed revelations come one after the other and there is no time to absorb and reflect back on the prior events and reset your expectations before Ashok throws in another twist and shows all the details. But for all the surveillance technology and supposed experts observing via CCTV, nobody asked the same questions I was asking myself. A flaw in the writing, or was I really destined to be a highly successful filmi villain?

Thaman’s soundtrack is mostly confined to adding loud dramatic underscoring, just in case you didn’t realise you were supposed to be scared. Or maybe to let the audience know they should terminate their very loud phone conversation and pay attention to this bit coming up. In deference to this genre, there was only one duet and no big musical production numbers.

I enjoyed this for the way Ashok built his film world, and for Anushka tearing it up. I don’t think anyone could be genuinely completely surprised by the twists and turns but the journey is largely entertaining. With a couple of good minor “Boo!” scares into the bargain.

 

Agnyaathavaasi

PosterDespite a stellar cast and a rocking soundtrack, Agynyaathavaasi turns out to be a rather disappointing watch. Trivikram takes an interesting plot and fills it chock full of masala, to the extent that the story of a son’s mission to exact vengeance on his father’s killers becomes lost in the morass of comedy, romance and OTT fight scenes. Nothing too much out of the ordinary for a Telugu film then you might think, but there is simply too much of everything here, making Agynyaathavaasi a clutter of confusion instead of the thrilling action film it could have been.

The story (when you can catch a glimpse of it) follows the exploits of Balasubramanyam (aka Abhishikth Bhargav aka Bala aka Abhi!) as he attempts to discover who murdered his father and brother, and then follow through to exact revenge. Abhi (Pawan Kalyan) has been raised in secrecy, allowing his younger half-brother to assume the role of heir to his father Vinda’s pharmaceutical empire. Vinda (Boman Irani) is notorious for always having a Plan B, hence the existence of Abhi who is rather oddly is his step-mother’s favourite, despite his exiled status. Indrani (Khushboo) suspects that her son and husband did not die accidental deaths, and calls Abhi back to discover which of the two aspirants to Vinda’s AB Company were responsible for the deed. Varma (Rao Ramesh) and Sharma (Murali Sharma) have been part of the company since its formation, but neither seem up to the challenge of running a multi-national organisation. Both actors do their best, but with poorly etched characters played mainly for comedic value it’s hard to see why they could ever be in the running as suspects for the murders.

Adding more unnecessary slapstick is Raghu Babu as a particularly sleazy office manager whose antics aren’t even remotely funny and who is completely superfluous to the plot. As too are Abhi’s side-kicks, who start off by offering technical support for his scheme to infiltrate the company but end up as a kind of enthusiastic group of cheer-leaders on the sidelines instead. These include Tanikella Bharani as Abhi’s uncle, Srinivasa Reddy and Abhishek Maharshi who all gasp, cringe and applaud at appropriate moments but otherwise have little to do as Abhi smoothly goes about his investigation without encountering too many problems.

Naturally there has to be a romance – so why not two? Anu Emmanuel and Keerthy Suresh are the two women Abhi uses as part of his schemes to discover the truth, which goes some way to explaining the mainly superficial nature of the relationships. Still it does mean a couple of songs and a quick jaunt to Bulgaria in between Abhi’s many fight scenes. Outside of this though, the two actors only appear as light relief in between beautifully staged but surprisingly dull fight scenes.

Normally the saving grace in these films is the performances of the actors, but almost everyone here, including Pawan Kalyan overact like crazy. The Powerstar doesn’t seem engaged with the screenplay at all for most of the film – not surprisingly perhaps, since I found it difficult to engage with too! There’s a bizarre scene where an insightful police officer (Sampath Raj) starts to postulate on who Abhi could possibly be, and manages to reconstruct the entire sequence of events without any clues, witnesses or evidence to back up his theory! It’s another example of needless frills that hinder the story. A flashback sequence would have worked much better and there was no need to add such speculation, particularly when the police officer involved reported that both Vinda and his son died by accident despite Vinda being shot in the head before he plunged to his death from a high-rise.

On the plus side, the music from Anirudh Ravichandler is excellent and suits both the action and romantic sections of the screenplay. The songs are also catchy, but for the most part don’t sit well within the screenplay and most seem to be added rather randomly. Despite this, the choreography is excellent and the locations beautifully filmed. Indeed, overall the cinematography is excellent with some stunning shots of Varanasi near the start of the film. I also liked the attempt to link Abhi’s story to parts of the Mahabharata and the story of Krishna, which helped to fill in some of the back-story that was glossed over rather quickly.

There are some terrific performances too in the midst of all the general scenery chewing. Boman Irani is good and Khushboo is notable in her return to the big screen as Abhi’s step-mother and Vinda’s widow. She’s compelling in her scenes and her understated performance stands out in the midst of all the other melodrama. Also very good is Aadhi Pinisetty as the main protagonist, Seetharam. He gets the balance between arrogant brat and murdering megalomaniac just right while looking dapper and well-groomed at every occasion. Despite only a short amount of screentime Aadhi is impressive and makes an excellent villain once again.

Agynyaathavaasi is simply too uneven to be anything other than a one-time watch. Although there is a good basic storyline, the added fluff and masala buries it too deep and not even the excellent production values can keep it from sinking under all that weight. Although Khushboo and Aadhi along with Anirudh’s music and V. Manikandan’s cinematography are worth seeing, this is really a film best for fans only.