Vinaya Vidheya Rama (2019)

vinaya vidheya rama

Boyapati Srinu specialises in films that are all action and little plot, but even by his standards Vinaya Vidheya Rama is a nonsensical mess. The film has zero logic and even less of a story than usual, along with a completely muddled-up timeline and ludicrously impossible situations. I don’t expect much logic from mass masala movies but I can appreciate their usually well-choreographed fight scenes, good music and memorable choreography, but even all of these fall significantly short in this overlong, systematic bloodbath of a film. A quick perusal of the plot (such as it is) makes it seem that Vinaya Vidheya Rama might fall into the ‘so-bad-it’s-good’ category, but it misses this too by a mile, and not even the best efforts of Ram Charan can save the film from being anything other than a drearily predictable watch.

The opening scenes are also the best and since they almost make sense the film initially lulls you into a false sense of anticipation. Four orphans living on the railway in Vizag find a baby and on discovering he has been bitten by ants and also apparently has a head injury, they take the infant to a local hospital. Amazingly they’re allowed in, don’t have to wait and receive excellent care and attention from the attending medical staff with the eventual outcome that the doctor (Chalapathi Rao) adopts all five children. The four kids decide to send Rama to school while they raise the money to keep him there, but an early run-in with some child-napping thugs leads to the infant Rama disposing of the gang and vowing to send his brothers to school instead. This sounds ludicrous, but honestly, it’s far from being the most ridiculous idea in the film.

The brothers grow up and get married but creepily all continue to live together with their wives and assorted children. Only one of the brothers is ever called by name, and he’s also the only one who has any gainful employment, which might explain their unusual living arrangements. Bhuvan Kumar (Prasanth) is an election officer which brings him into contact with a warlord living in Bihar who objects to the government elections in his area. This necessitates the usual argy-bargy between the government officials, supporting police, local townsfolk and the generic thugs employed by Raja Bhai Munna (Vivek Oberoi) with the inevitable outcome that Rama (Ram Charan) has to head up north and save the day.

There is also a vague romance with Kiara Advani as an arranged marriage candidate. Boyapati Srinu tries to be topical by making her mother (Hema) a violent advocate for feminism but this falls completely flat and is at times actually quite nauseating while her husband (Prudhvi Raj) is portrayed as a hen-pecked loser who somehow stumbled into marriage. It’s not funny, it’s not even necessary for the story and the whole entirely pointless romance should have been left on the cutting room floor.

However, the romance is the basis for including the songs – mostly set as fantasy-dream sequence numbers. Although Charan dances up a storm, the female backing dancers are often out of time and incredibly stiff, which significantly detracts from his performance and makes these songs just as difficult to watch as the preposterous story. Devi Sri Prasad doesn’t break any new ground with the music either and the songs are mostly generic dance numbers that don’t leave much of an impression.

It doesn’t get any better. The story timeline keeps switching between pre- and post- Bhuvan going to Bihar and it’s frequently unclear just exactly when any particular scene is taking place. After a while I just ceased to care. Things get even more bizarre when Rama somehow manages to get from an airport in Gujarat to Bihar on top of a speeding train and then on horseback in less time than it takes for Raja Bhai Munna to threaten Rama’s brothers and their wives. That’s all the way across India in minutes standing on the top of a train and using a smartphone app for directions to the location of his brother’s phone. There’s always some suspension of disbelief required for any action movie but it’s a whole new dimension of disbelief that’s required for a Boyapati Srinu film!

Having arrived at his destination, Rama then proceeds to slaughter thugs like they were mosquitoes and claims to kill 300 men before finally being captured and imprisoned in a belt and chain affair that never looks as if it would be effective. There’s no doubt that Rama will win the day, but of course there has to be a lot more speeches and posturing before that happens – interestingly the best posturing comes from Bhuvan Kumar’s wife, Gayatri Devi (Sneha) whose determined defiance is more effective than all of Rama’s intense and overly dramatic speeches.

The fight scenes are brutal, bloody and in true Boyapati Srinu fashion, no object is unable to be used for impaling, dismemberment or general destruction. I have to admit that there are moments when the fight scenes threaten to be entertaining, but then they degenerate back into formulaic action that is dull because it’s been seen many, many times before.

I wanted to like Vinaya Vidheya Rama because a film this silly should be entertaining, but for every fleeting moment that worked, there were hundreds of others that just didn’t. Apart from Rama, none of the characters are anything other than a brief sketch and to add to the tedium, all of Rama’s brothers (Aryan Rajesh, Ravi Varma and Madhunandan) spend the entire film talking about how amazingly wonderful he is. Vivek Oberoi’s villain says and does the usual things along with his army of ineffectual thugs, and while in general Vivek is fine as a bad guy, the character is so loosely drawn that there is never anything juicy enough for him to really get his teeth into.

Despite all the explosions, fights and general mayhem, Vinaya Vidheya Rama is surprisingly unexciting, made even more tedious by the unrelenting vagueness of the story. It’s a shame because there are the odd moments of light – the four young kids are good at the beginning, and the wardrobe department has done a good job styling Charan for the songs. But at the end of the day it’s not enough and even for fans this one is a tough watch.

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Khaidi No 150

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I thought the original film (Kaththi) was mediocre so I had low expectations. And I was honestly happy at seeing Big Chiru on screen, my first ever Megastar FDFS, and the bonus of subtitles. The audience went nuts when Chiru’s foot first appeared. Apparently I am not the only one who takes a keen interest in Mega Footwear. And the screaming and paper throwing erupted at the start of every song and every fight. It felt so good to be among my people.

The story goes like this. Escaped convict Seenu (Chiranjeevi) witnesses an attempted hit on a stranger, Sankar (Chiranjeevi). He takes Sankar to hospital but swaps over their ID so he can remain free, assuming that the police will let the other man go once they realise the error. Seenu then impersonates Sankar, and acquires a nursing home full of old men from the village of Neeru. As he understand their story, and gets to watch a handy documentary on Sankar’s crusade against the evil corporates, Seenu takes up the fight as his own.

In many ways this is a perfect comeback vehicle for Chiranjeevi. The dual role and the breadth of the action means no matter what his fans want from him, they’re likely to get it. He delivers action, big speeches, garish outfits, and some of his trademark dance moves (the veena step!), all with minor modification to suit a gentleman of a certain age. And most of that is done in the initial prologue section. The dual role means he can play both mass and class aspects of the standard hero, and even asks Lakshmi (Kajal) which she prefers before telling her his name. Sankar wears brainy glasses (HOT. Just saying) where Seenu has a more flamboyant style. There are references both in the script and the background music to his previous films, some of them drawing roars of appreciation from a very vocal crowd. He has a sidekick (Ali), an enemy (Tarun Arora), a frenemy (Brahmanandam as Doberman), and many comedy uncles and familiar actors as supports, dependants, and thugs. He also has an irrelevant love interest. See? Everything!

I was wondering how they would deal with the age gap between Chiru and Kajal and the answer is that Seenu thinks Lakshmi is a childhood sweetheart, but then realises they just look alike. So I decided that young at heart Seenu always thinks of himself as that twenty-something dude about town rather than thinking we’d believe they were actually the same age. I really should be on the payroll to find far-fetched solutions to ill-conceived plot devices…And the fight scenes are grand and full of energy, even though Chiru has long since left his limber acrobatic years behind. The songs also work to cover over the years because they are more a platform for people to worship the Megastar not a display of romance. The lyrics are mostly about how great he is, the choreo is very peacock-esque as he and the backing dudes strut their stuff, and the ladies just wiggle when in shot.

“Ammadu lets do Kummudu” is probably the worst song I will hear this year but as soon as it was over I would have hit replay if I could have. It has all the visuals I could ask for – prancing, colourful outfits, bedazzled Mega-shoes, and a guest appearance by Charan. Father and son look so chuffed to be dancing together. The backing dancer costumes are a wonder throughout. From drapey chiffon to see through plastic jackets, you name it, they had to wear it.

Kajal’s character is irrelevant, and she can hardly dance, so I really paid little attention to her. However. In every song picturisation she wears extremely sensible walking shoes regardless of her dress. So I was mildly diverted and wondered if it was due to her height compared to Chiru, perhaps she had an injury and couldn’t wear the usual ugly strappy sandals, was it some kind of statement. I don’t know. I doubt that this is what she wants to be remembered for but it really is the most interesting thing about Lakshmi.

Farmer suicide is a real issue given pretty superficial treatment by V.V Vinayak, although I appreciate he tried to show the effects of the ever shortening media cycle on long running issues. But the main components of the story felt off kilter. Farming life was overly romanticised, described as a necessary fate, and condemned as too harsh, often in the same grand speech. The speech that got a really big response was one about people being forced out of their villages and having to take crappy jobs in the big cities to earn some money. But the film seemed adamant that people should stay on the land, which I think is a bit simplistic as country kids may want or need to pursue other careers and they should have those opportunities. Sankar was supposed to be a man of principle but didn’t hesitate for a nanosecond when offered a deal to let some thugs kill Seenu if they got him out of jail. It was OK to throw in a tasteless joke that Doberman (Brahmi) had raped 100 women. And Ali in drag is never necessary to any movie ever. And the Megastar presence really dominates so that the reliable and accomplished guys like Nasser had little opportunity to make much of their roles. Or maybe I just wasn’t paying attention to anyone but Chiru!

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There are also some genuinely funny moments. I think my favourite was  when Posani Krishna Murali’s men all pretended to pick up phone calls as he was blustering and wandered off looking busy rather than face Seenu. Or maybe when Brahmi lost his religion during a huge fight scene. I also liked the thinking behind one fight scene that progressed through corporate thugs, oiled up baldy muscle men who looked like an angry pack of Maltesers, and finally the bad hair gang.

Lest you think I am completely superficial and only looked at the shoes, there was an interesting moment regarding justice in this film world. The judge (played by Naga Babu) says that if a single person kills that is murder, but if society kills it’s a revolution. It’s a problematic statement once you get thinking about the mob and riots but it did mean someone notionally good avoided jail time, and the person they killed was bad news anyway. No biggie.

Will Khaidi No 150 make a fan of anyone who isn’t? Probably not. Does any of that matter if you are a fan? No way!

Pssst  – Make sure you stay for the end credits for some glimpses of the famous visitors on set, and Lawrence closely monitoring a dance and giving someone the stinkeye.

Dhruva (2016)

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Dhruva is a reasonably faithful remake of 2015 Tamil film Thani Oruvan that benefits from Arvind Swamy reprising his role as the villain of the story. Dhruva is definitely slicker and glossier than the original, but the story is essentially the same although the emphasis is even more on the two main characters than in Thani Oruvan. Thankfully both Ram Charan and Arvind Swamy are excellent and the cat and mouse game between the two makes Dhruva an entertaining and worthwhile watch.

The film is a thriller that follows the attempts of a young and righteous police officer, to track down and catch one of three über criminals. Dhruva (Ram Charan) believes that if he locks up the kingpin of any criminal organisation this will immediately impact on 100 petty criminals and be more effective than tackling each street thug individually. It doesn’t take long before he discovers that his three possible targets each themselves are controlled by an even bigger villain – Siddharth Abhimanyu (Arvind Swamy). Siddharth is a respected scientist, recipient of a Padma Shri award and all round respected businessman so Dhruva has to somehow find convincing enough evidence to send Siddharth to jail for his crimes.

In the original film Dhruva was helped by his close friends who all formed a posse to fight crime together while they were in training college. However their role in the story here has been reduced and although the friends are still there, they have less to do in the hunt for Siddharth.  Goutham (Navdeep) is the only one who has been kept fairly true to the original, but without the detail of their friendship as background, his character is less effective. This also has an impact on the characterisation of Dhruva who appears more isolated and less of a leader as a result, making his assumption of control of a crime task force immediately after his graduation rather less credible.

Another casualty of the re-write is Ishika (Rakul Preet Singh) whose character has even less to do than Nayantara in the Tamil version. Ishika is a victim of love at first sight when she sees Dhruva, and she pursues him relentlessly, knowing that in a Telugu film eventually her persistence will be paid off by Dhruva finally accepting her love – rather than arrest for stalking, which would be the most probable outcome in real life. Although she is a forensic specialist, this is barely mentioned in the film, and Ishika has little involvement in the search for evidence against Siddharth. Where Nayantara’s Mahima had useful ideas and forced her way into the investigation, Ishika is limited to appearing only as the romantic interest. However Rakul Preet Singh does a good enough job in this role and has reasonable chemistry with Ram Charan, which at least makes the scene where Dhruva finally does admit his feelings one of the better moments in the film.

The film is all about Dhruva and his developing relationship with Siddharth and Ram Charan is excellent as the obsessed police officer, determined to track down Siddharth no matter what it takes. He certainly looks the part, easily demonstrated since Surender Reddy is an equal opportunity director who ensures that for every shot where Rakul Preet Singh appears in a bikini there is a shot of Charan without his shirt. No complaints here!  While Ram Charan expertly channels his inner Salman Khan, he also does a good job of portraying the more cerebral side to his character and his monologues where he describes his theories about the local criminals are well delivered. He’s even better when Siddharth’s tactics begin to hit home and Dhruva begins to doubt himself as he loses Goutham and his every move is known by Siddharth even before he makes it. This gradual erosion of his self-confidence is well depicted and Charan gets the emotions across effectively while still maintaining his tough cop persona.

However, as in Thani Oruvan the real star of the film is Aravind Swamy, who is perfectly evil as the amoral and unscrupulous Siddharth. His callously dismissive way of ordering the execution of anyone from mere bystanders to major players in his plots is wonderfully chilling and his appreciation of a worthwhile enemy in Dhruva just adds more menace to his character. I think he is even better here than in Thani Oruvan, or perhaps it’s because there is less focus on the other criminals and his added screen time lets him play nasty more effectively. Posani Krishna Murali does well as Siddharth’s bumbling politician father and the contrast between the clever but absolutely evil son and his unaware and totally inept father is simply brilliant and works just as well here as in the original.

The story stands up well to the remake in Telugu, even if shifting the focus even more onto the two lead characters does make for a less believable plot. Ram Charan is suitably heroic and the only disappointment is that there is little opportunity for him to show off his dancing skills. The music from Hiphop Tamizha is fine but not as memorable as his Tamil soundtrack, and the songs occasionally seem rather oddly placed, particularly in the second half. Still, the picturisations are good, and the scenery for Choosa Choosa stunning. Neethoney has the best dance moves though.

Dhruva is a good remake of an excellent film and definitely well worth a watch. Ram Charan takes on the role of a dedicated police officer, but one with more flaws than a usual Telugu hero and performs his part admirably. Arvind Swamy is perfect as his nemesis while the psychological cat and mouse game between the two is beautifully played out. Mohan Raja is credited with the original storyline and Surender Reddy has aptly modified the plot to give a slick and entertaining thriller. One to catch in the cinema if you can.