Bharat Ane Nenu

Koratala Siva and Mahesh Babu team up for this smart political thriller. It’s a good looking film with a fairly solid story, but you’ll need to turn your logic-meter off, or even inside out, at times. And not just for the gravity defying action scenes.

Bharat (Mahesh) is a perennial student in a London populated by white people with bizarre accents. He is on his 5th university degree, and has no immediate plans to stop studying. He is smart and curious, but might lack a bit of focus or motivation. Called home after the sudden death of his politician father (R Sarathkumar), Bharat is inveigled into taking up the apparently hereditary role of CM by his dad’s friend and colleague Varadarajulu (Prakash Raj). But while Bharat may be clueless about local Andhra Pradesh issues, he’s very rules driven and task focussed and likes to act decisively. He will bring back the FEAR, RESPONSIBILITY and ACCOUNTABILITY (caps courtesy of the subtitles team) that he thinks society needs. And that sets him on a collision course with pretty much everyone in politics.

There are some odd inconsistencies in Bharat’s logic at times and it felt like there was an often unacknowledged conflict or contradiction in the film between what he stood for and what he did. Bharat left home to go live with friends in the UK when he was just a kid. He stayed away for years, but he still remembers his mother telling him stories about duty and doing the right thing (underscored by her death when he broke a promise so….). He seemed happy to follow his own whims while abroad and had no firm plans. However Hyderabad traffic sets him ablaze with indignation. He’s a true believer, fighting to see his vision brought to life, and at odds with the career politicians who feather their own nests. A benevolent dictator is still a dictator so I found it interesting that apparently I was supposed to see this as democratic representation of the will of the people. He was never elected, just chosen first by calculating party men and then by public acclaim. And the film shows that acclaim can turn very quickly to scorn. I really did like that in what could have been a clichéd scene of people coming to the Hero to rid their village of a problem, he turned the tables and asked why they didn’t save themselves. It’s a tired trope that needs to be retired or examined, and having Bharat say he would support people but they had to get off their butts and do something to help themselves was excellent. He sees a girl at a bus stop every morning and has no qualms about using state resources to get her number, but he does ask for her consent at key junctures so there is that. He asks why the roads have to be closed for his ministerial convoy but again, no issue with taking over an entire restaurant so he can have a coffee date with Vasumathi. There’s a bit of “don’t do as I do, do as I say” in Bharat.

Mahesh is convincing as the driven reformer who wants to remind people of the rule of law, and he can carry off the grand speeches. Bharat starts out using his intelligence and will, but at a point his awesome fighting skillz surface. It’s fitting that at the moment he went from protagonist to Hero, he was surrounded by swirling movie tickets just like the paper thrown by a cinema audience to greet a hero’s entrance. The action scenes are highly stylised, relying on Mahesh’s ability to stare down the camera while sauntering past wearing a baddie as a backpack. I laughed loudly and alone at that visual! Koratala Siva knows exactly what he is doing with the mass tropes and with his actor. I don’t think there is anything in the role that challenged Mahesh’s abilities but he gives a committed and smartly layered performance. For those who rely on me for other insights about layering, yes he wears t-shirts and even flashes his knees. I suspect in one scene that he might have had two white t-shirts stitched together to avoid any hint of transparency. But it’s modern, minimal layer Mahesh in terms of wardrobe.

Kiara Advani is Vassu, the object of the CM’s affections. While Vasumathi is interchangeable with just about every other newbie Telugu film heroine, she is vaguely intelligent and has a life. She obviously likes Bharat, but is nervous because of his position and just because she’s a middle class girl. Her giving him a stick on moustache was a stroke of genius. Seeing Bharat happily at one with the crowds on their low key dates because of his dodgy mo was very funny. Unfortunately after a promising start, Vassu loses all agency as soon as men start on about their own honour. I’m neither here nor there as far as Kiara Advani is concerned. She is fine but there’s so little to the character that I couldn’t say she brought anything unique to the role either. Her outfits were boho student in daily life but the songs are where the costume department run amok.

The Devi Sri Prasad soundtrack is full of tracks that sound like other tracks, and the lyrics are loaded with dubious English rhyming nonsense. Perhaps I am being harsh and Vasumathi likes to be called “my lovely harmonica”! Mahesh’s prime dancing days are a thing of the past, I think, so the choreography was largely of the walking and pointing variety. The big set number Vachadayyo Saami is a standout mostly for the colour and spectacle (which includes the aforementioned knees).

The supporting ensemble is full of competent actors, well cast, and most with a bit of depth or development to their characters. Prakash Raj is excellent as the avuncular Varadarajulu, completely believable as the long time friend and frenemy. Anish Kuruvilla, house favourite occasional director/That Guy, plays a slightly slimy but not unlikeable Chief Secretary caught between the party and the CM. He gets to give his appalled expression a good workout, along with a bit of side eye. Brahmaji is the CMs assistant and like most people dragged along in Bharat’s wake he alternates between flustered and tickled pink at the goings on. Another favourite That Guy, Ajay, has a small but sensible role too. And I was very pleased to see good old Mukhtar (Mukhtar Khan) was not forgotten after one pivotal and quite brutal scene. Bharat might be swept away by the public but the continuity and attention to detail and people was there, as befits his character and this film.

If you like the idea of a well-acted, well directed, and more violent story somewhat along the lines of Mr Smith Goes to Washington but with dodgy subtitles do see Bharat Ane Nenu!

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Rangasthalam

Sukumar’s Rangasthalam is a sprawling rural epic set in the 80s and chock full of plot. There’s probably enough for two films, but despite being 80s influenced in running time too, I found it highly engaging.

Chittibabu (Charan) hires out a water pump to service the village crops. He’s a bit dim and lazy, very proud and impulsive, but essentially a decent bloke. And he has a hearing impairment that he is ashamed of. His inability to hear unless shouted at is used for comedy but also is important in keeping him a little isolated and clueless. When golden boy big brother Kumar (Aadhi Pinisetty) comes back from Dubai, he is appalled by the corrupt lending and eviction scam run by the local association. He gets the support of MLA Dakshina Murthy (Prakash Raj) and decides to run for President, setting up a colliion course with the incumbent (an evil eyed Jagapathi Babu). And meanwhile Chittibabu has fallen for the lovely Ramalakshmi (Samantha Akkineni). But does he have the time or the capacity for love when he has heroic duties to attend to and a brother to protect? And if it isn’t the President pulling all the strings, then who else might be involved? What is a simple man to do?
Charan was instantly recognisable even in the long aerial shot that opens the film. His hair is magnificent and deserves an acting credit. But apart from the mane of glory, he delivers a solid performance. Chittibabu is quite childish and demanding, but has a generous heart. He is only able to devote himself to one task or thought at a time though, which meant that the relationship with Ramalakshmi kind of disappeared for a while as he was busy with other matters. Charan and Samantha had a nice rapport and I quite liked seeing the man be disconcerted and flustered by being on the receiving end of some determined attention. And he did some truly excellent lovestruck prancing. But he is an 80s style mass hero and will not be winning any awards for feminism. The fight scenes are intense and brutal, with only a few fancy effects to diminish the reality. Predictably Charan excels in the action and dances, but that solid physicality also translated well to his character.
Charan and Aadhi were really nice as brothers. It would have been very easy for Sukumar to make Kumar the saintly one and Chitti the dumb one but they each had some elements of the other one’s personality and their little fights and jokes seemed natural and lively. Chittibabu had to grow up a bit through the film and Charan handled that quite well. I thought the hearing aid Kumar got for him was used nicely as an indicator when he decided to put personal vanity aside. Aadhi played Kumar with less bravado and more empathy than the younger sibling. His reactions when things turned violent seemed genuinely fearful, and true to the character. He found a groove to work in as the second fiddle in the film but the star of the family who absorbed all their attention.
Samantha made Ramalakshmi funny and warm, the kind of girl that would always be in the thick of the chatter when there was a break from work. She wasn’t impressed by Chittibabu despite his obvious attraction to her, and somehow was the only person in the village who didn’t know he was hearing impaired. The comedy of errors stuff went on a bit too long, but I enjoyed her uninhibited enthusiasm, especially in Rangamma Mangamma where Ramalakshmi took on some of the typical hero pursuit song shtick. Samantha’s face is so expressive that even the terrible subtitles didn’t interfere too much with her scenes. The moment when she weighed up her father’s emotional blackmail against Chittibabu’s open door on their future was darkly funny and so good to see. It was sad that she along with almost every one else was then sidelined for a substantial chunk of the story. Because Hero stuff.
Jagapathi Babu is the villain this film needed. He infuses every scene with a menacing sociopathic coolness, and has no need of pointless histrionics. He has ample followers to carry out his wishes and can keep the dirty business at arm’s length. He’s like a shark. Something sends a chill down your spine on first sight, even if he doesn’t seem to be an immediate threat. Prakash Raj has a small but pivotal role, and is his usual reliable self. Brahmaji is his usual angry self as a government official. It’s good that some things never change. Mahesh Achanta, Rohini, and Anasuya Bharadwaj are notable in the large ensemble.
Sukumar did some interesting things within what does feel like a solid 80s mass drama. The women were often in the background but when it came to crunch time there was no fuss as they took a more active role or their expressions gave the men permission to act. Rathnavelu’s cinematography created a beautifully rural idyll with long sweeping views of the landscape but moved away from fixed camera positions in the action scenes, giving it a more modern and dynamic feel. The soundtrack is exactly what you’d expect, which is not a bad thing. I liked Charan’s dancing and thought he did well in the folk influenced choreo, maintaining his Mega cred while staying in character.
I learned some new phrases thanks to the (possibly drunk) subtitle team. I hadn’t heard of the Dazzle King or even the Mangoose, but now I feel they sound like something I should have known. And I will be wary of doctors offering the “eternal injection”. I know subtitles are a luxury, but surely someone read them before they were published. No?
I thoroughly enjoyed Rangasthalam. It’s a big meaty story that takes its time. The casting is good, the visuals are great, and in mass style the film has a bit of everything. Recommended!

Parugu

Parugu

Parugu is Bhaskar’s 2008 follow-up to his hit film Bommarillu and despite a rather hit and miss screenplay the movie ended up being a hit, was remade in various other languages and scored a number of awards. While the story might be nothing new and labours under every single film cliché imaginable (love at first sight, stalking = love etc), both Prakash Raj and Allu Arjun are excellent and work well together to make Parugu more watchable than the synopsis suggests. Plus the film starts with Bunny on roller skates – how can you not appreciate that!

I particularly love this song since when I can tear my eyes away from Bunny dancing, I recognise many of the locations. Plus, as always Bunny’s energy and enthusiasm is incredibly infectious, making for a great start to the film.

Sadly, the film doesn’t manage to keep the energy for long as the story moves to a village where local big-wig Neelakanta (Prakash Raj) is presiding over the marriage of his daughter Subbalakshmi (Poonam Bajwa). However, not all goes to plan as Subbalakshmi elopes with local villager Erra Babu which sets her father and his army of goons off on a rampage to find her. As part of their investigations, they pick up all of Erra Babu’s friends from the village and soon widen their search to include Sharma (Saptagiri) from Kakinada, Seenu (Chitram Srinu) in Nellore and Krishna (Allu Arjun) in Hyderabad.

Neelakanta and his brother Chinnabbayi (Subbaraju) keep the men in a shed while they continue the search for Subbalakshmi and Erra Babu, although this seems likely to backfire when Krishna engineers an escape. However, just before making it to the train and freedom, Krishna is brought up short by a girl he sees in the morning mist. He falls instantly in love and resolves not to leave the area until he discovers her identity. Naturally, the girl Krishna has fallen for is the youngest daughter of Neelakanta and she’s already having a number of issues due to the fall-out from her sister’s elopement. Through a window in the shed she pleads with Krishna and the rest of the detainees to reveal her sister’s whereabouts but instead she gets caught in a blackmail trap and agrees to help Krishna find the girl of his dreams. While the audience know that Meena (Sheela Kaur) is the girl he has fallen in love with, neither Krishna nor Meena realise until well into the film that she is the one Krishna is trying to find.

There is some comedy in the first half as Krishna hatches up various schemes to search for the girl in the woods, while Sunil and Srinavasa Reddy add some slapstick to further lighten the mood. Prakash Raj does his usual ranting as an enraged father but Bhaskar aims to show him as a more sympathetic figure and changes tack with the character in the second half.

As Krishna discovers that the girl he loves is Neelakanta’s daughter, Neelakanta finds out that it is Krishna who has helped Subbalakshmi vanish and he tortures him to find out where his daughter is hiding. This results in everyone – Neelakanta, Chinabbayi, all the various thugs, Krishna and Erra Babu’s other friends and Meena, haring off to Hyderabad on the trail of the missing couple. Krishna takes advantage of every opportunity to speak to Meera and starts to manipulate her feelings for her father to his advantage.

Meena doesn’t instantly fall for Krishna, but rather tries to keep her distance and is generally upset and confused by his attentions. Sheela plays Meena as nervous and afraid, although also somewhat gullible and impressionable. Bhaskar has given Meena and her father the same nervous mannerisms which does help link the two as a family, but Neelakanta’s decision to bring Meena with him still stands out as odd. There is some attempt to have meaningful conversations between the two, but these don’t work as well as they could, and the relationship between Meena and her father seems cold and impersonal as a result.

Meena genuinely seems scared and anxious for most of the film – afraid of her father and his goons, afraid of the men in the shed, particularly Krishna and afraid of falling in love. There is a rather bizarre song where Krishna is dressed as a mad priest and chases Meena though the canyons of Petra before she wakes up to realise it’s a dream. Bhaskar isn’t as clear here as he could have been that stalking is not the best way to a girl’s heart and for all his cheer and mostly sunny personality at times Krishna’s behaviour is quite predatory, making Meena’s fear seem quite rational. There really isn’t any good reason for Krishna to continue his pursuit of such a reluctant object of his affections, and very little basis for Meena to change her opinion. So Meena’s gradual acceptance of Krishna doesn’t seem realistic and even when she does start to warm to him, the romance generally has little sparkage. It’s left to Arjun and Prakash Raj to provide the chemistry that keeps the film going, and they both do that magnificently!

As Neelakanta gets more and more desperate, Krishna starts to realise that it’s his love for Subbalakshmi and his concern for her welfare that is driving her father to such desperate lengths. Although the change from concern about reputation and prestige to concern about his daughter is uneven and not always convincing, the change in Neelakanta does make the point that families suffer in a myriad of ways after a runaway marriage and provides the families point of view rather than the usual romantic picture of an elopement. Strangely, neither Krishna nor Meena use this opportunity to approach Neelakanta about their own love affair, which draws out the already overly long screenplay even further without adding any more substance to the plot. However it’s the interactions between Krishna and Neelakanta that make the film interesting, and both actors work well together to make their conversations and gradual acceptance of each other the best part of the film.

This is a Bunny movie and so there are plenty of opportunities for him to shake a leg and demonstrate his dancing skills. This is one of the best although the location and costumes could have been better.

Prakash Raj is in his element here. He has plenty of material to work with – all the rage and fury when his daughter runs away, slow burning anger at the men who are hiding her whereabouts and plenty of angst and remorse as he starts to fear that he as lost her forever. However, Bunny matches him step for step and together the two bring credibility to their roles that the romance and hunt for Subbalakshmi fail to deliver. It may be predictable with a total lack of empathy for any of the female roles (for which I’ve deducted a star), but Parugu does have strong performances from Bunny and Prakash Raj and the idea that elopement isn’t the solution to every problem is at least a little different from the norm. Parugu is worth watching for Bunny (of course!), Prakash Raj and the excellent dance sequences, but best to consider as an action/drama rather than as a romance to avoid disappointment. 3 ½ stars.