Nene Raju Nene Mantri

 

Radha Jogendra (Rana Daggubati) narrates his story to a film crew as he awaits execution. He was once a simple money lender with a shrewd mind and a moral compass provided by his wife Radha (Kajal). After a couple of years of marriage Radha finally fell pregnant and the happy couple were over the moon. Sadly Radha lost the baby and her ability to conceive again after being attacked for accidentally infringing on the imaginary rights of the village leader’s wife. Yes, I know. Jogendra decides if he was the village head nobody would insult Radha again. So he schemes his way into the role. Then he eyes off the MLA position. Then a ministry. Then the CM gig. He always justifies his ambition as his means of giving Radha the best in life, but he is playing the game for the sake of power too. Can he keep outwitting his opponents? Where will he draw the line? And what does Radha make of it all?

Teja’s “Nene Raju Nene Mantri” is set in the murky world of politics but has all the flair and improbability of a cowboy film. It is great fun if you can ignore the death toll, and I always like a decent comeuppance.

Jogendra (Rana) adores his wife, but everyone else is expendable or interchangeable. He is deceptively simple looking, but his mind is subtle and calculating. Rana dominates his scenes and not just because he is twice the size of anyone else in the film. He is fully at home as the morally dubious but highly effective Jogendra and delivers his one-liners and proverbs with great relish. The action scenes are often brutal but then he switches to a convincing warmth and playfulness in his scenes with Kajal. There’s more complexity to Jogendra than I was expecting, and a lot more of the mass hero hijinks than I expected too. I laughed a lot at Jogendra’s amazing aptitude for killing, and his ability to stay on task.

The wardrobe team came up with a good look for Rana. Well, once I got over my confusion at seeing him in a shirt. There’s lots of monochromatic linens, a slightly modernised traditional look, and a fairly subtle way to emphasise his physique without it looking like his clothes were painted on. What else…Oh yes, there is a hulk-out shirt ripping moment, just to prove the gym sessions haven’t ended.

Radha (Kajal) is on the surface too saintly. But I really liked her chemistry with Rana, and some of her less sweet moments saved Radha for me. I loved when she fired up and told Jogendra she’d forgive so many of his mistakes (like shagging Devika Rani) but not the thing he just said. Or when he chided her for acting childish and she said it was because they didn’t have a child, and they both looked stricken. I didn’t like that everyone except Jogendra saw Radha’s value relative to her having a baby. She had no purpose or context in the script other than “wife”, so I was impressed with Kajal for bringing a bit more to the table. She showed Radha’s growing discomfort with her husband’s actions and her inner conflict because she knew he did it all for her. The wardrobe team dressed her in beautiful sarees that increased in opulence but always suited Radha, and Kajal looked comfortable in her skin. However. Radha was the perfect wife who would sacrifice anything for husband but that final sacrifice was just DUMB. The method struck me as quite improbable. Having said that, I still felt intensely sad when the cortege visited surrounding villages.

Devika Rani (Catherine Tresa) is a badly dressed avatar of media whoredom. Her painfully high silver wedge sandals and the almost there skirts were hideous. I guess the wardrobe team can’t love all their cast members equally. While it is good that Devika Rani was shown to be a confident woman I was concerned that none of her social media strategies were sound. Never hire anyone who says their plan is to send everything viral. And her character made little sense. But it does speak to the thinking around campaigning and media manipulation, with clicktivism and slacktivism getting a passing nod even if I am not sure that is what Teja was aiming at. Her major achievement in the film might have been that she had zero chemistry with Rana. What was probably supposed to be a titillating scene was just awkward and cold, with Rana looking like he was resigned to an invasive medical procedure. Catherine has some convincing moments in solo scenes, but as soon as Rana or Kajal shows up her lack of acting skill is all too evident.

The villains are unfortunately quite familiar types from everyday life. The cop who takes bribes (Ajay), the gangster turned politician (Padeep Rawat), career politicians with no objective beyond lining their pockets (Tanikella Bharani, Ashutosh Rana, Posani Krishna Murali). All of these performances were solid, and there was some genuine menace and just nastiness in their interactions with Jogendra. Rana looked like he was having the time of his life threatening Ajay. Ashutosh Rana’s character didn’t know if he was coming or going sometimes, with a wry use of proverbs to explain how proverb-spouting Jogendra could beat him. I quite liked the one that went “if the cat is blind a mouse can hit it with a stick”. A convenient morality permeates the film. If Jogendra kills someone (or a hundred someones), don’t take it to heart. They were all bad so he was doing a good thing. Well, except for one. Navdeep wasn’t given much to do as Shiva but he managed to make an impression as one of the only people who held Jogendra morally accountable.

Anoop Ruben’s soundtrack tends towards the anthemic, which suits the purposeful journey Jogendra is on. They didn’t make Kajal and Rana dance which is also a blessing. There was a bit of convulsive twitching in one song but then lots of walking (him) and a bit of frolicking (her). Good decision dance team! I loved the special appearance by dance master Shiva Shankar. There is some dodgy VFX but realistic effects could have been overwhelming in the gory bits. And there is a sound effect for everything. There’s nothing new or outstanding in the direction but I feel the pace was pretty well managed until the finale which was a little drawn out. The dialogues contain proverbs and local sayings and I think the subtitlers did a good job of conveying some of the flavour.

It’s an engaging story with Rana and Kajal coming up with the goods and a decent support cast. I should be more concerned about the body count, the gender roles, the apathy surrounding politics, the problem solving preferences of a sociopathic charmer. But I was highly entertained and amused by the machinations and mayhem. Because he is Jogendra.

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Baahubali 2: The Conclusion

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In the lead up to possibly the biggest Telugu film release this year, the question I wanted to know wasn’t so much, ‘why did Kattappa kill Baahubali?’, but rather, was Baahubali 2 going to be worth the wait? And the answer has to be a resounding yes! Rajamouli breathes new life into the traditional story of sibling rivalry and dynastic disputes, ensuring that The Conclusion is every bit as exciting as The Beginning. There is the same epic scale, fantastical scenery and gravity-defying action sequences plus plenty of Prabhas and Rana in fine flexing form. Best of all, this time round Anushka gets to prove that’s she’s just as much of a warrior as the guys and she completely kicks butt as the beautiful princess Devasena.

Rajamouli’s commitment to blood and gore starts right from the opening credits where a number of key events from the first film are loving re-created as CGI ceramic statues – including a torso and detached head with spiralling blood. You just know it’s going to be spectacular when even the opening credits have such exquisite attention to detail – and it just keeps on getting better.

Logically, the film begins where we ended last time, with Kattappa (Sathyaraj) relating the story of his father to Mahendra Baahubali (Prabhas). Straight away we’re swept back into the flashback and the conundrum of who will rule Mahishmati – Amarendra Baahubali (Prabhas) or Bhallala Deva (Rana Daggubati)? Although at the end of Part 1 Sivagami (Ramya Krishnan) declared that Amarendra would be King, Bhallala is still plotting and scheming along with his father Bijjaladeva (Nasser) ensuring that the path to the throne is likely to be littered with dead bodies. Once Amarendra leaves for a whistle-stop tour of the kingdom before his coronation, the way is clear for Bhallala to plan his brother’s downfall and even if the story is relatively predictable, it’s how we get to that final betrayal that really matters.

On his tour, Amarendra travels through the vassal kingdom of Kuntala where he meets Devasena for the first time and falls in love. The romance is beautifully developed, from the moment when Amarendra sees Devasena wielding a sword and is completely smitten, to a sequence where, in the middle of a battle, he teaches her how to fire multiple arrows at the same time. It all unfolds very naturally with little of the sexism of the previous film – this is a more equal partnership and both treat it as such right from the beginning. Anushka is completely mesmerising as Devasena and has as much arrogance and belief in her own self-worth as Sivagami, ensuring that the two have some powerful clashes that almost outdo the fights on the battlefield. Here is all the back story we wanted that explains how Devasena could survive for those 25 years chained in front of the palace with her all-consuming desire for revenge. My favourite part is Devasena’s reaction to Bhallala’s sleazy commander-in-chief when he harasses the women at a temple. She believes in swift and pertinent justice, which got a huge cheer from the cinema and totally won me over to her side for the rest of the film.

Ramya Krishnan is wonderfully regal as Sivagami, ruling in declarative sentences and still disinclined to believe that her son could possibly be evil. Rajamouli gives Sivagami the chance to show a little maternal guilt over her clear preference for her nephew over her own child, making her seem just a little more human. Later, she has doubts and struggles to reconcile her perception of Amarendra as the ‘perfect prince’ with his combative stance when he dares to question her decisions about Devasena. Some of her choices seemed a little unlikely when compared to the wily and competent ruler from Part 1, but factoring in her determination to uphold the law and the universal truth that a mother tends to believe her child, her decisions are within the realm of possibility at least.

Another big plus is CinemaChaat favourite Subbaraju as Kumara Varma, Devasena’s cousin. Although his character is initially played for laughs, there is a serious side too, as despite not being a fighter or showing any signs of a courageous heart, under Amarendra’s influence he finds the strength to fight back when necessary. In Rajamouli’s world, heroism is infectious and it’s not just the god-like heroes with super-human endurance who can make a difference, ordinary people can stand up and fight too. The theme continues when the film moves back to the present day, although not so well-defined, but it’s good to see a move away from a completely hero-centric storyline and more substantiative support characters.

I adore Prabhas and he is completely amazing in both roles here. As Amarendra he is fierce and combative, but also shows off his comedic skills along with a more romantic side to his character when he meets Devasena. The fight scenes are superb and I like that Amarendra has a handy, portable, travelling axe that is more effective than expected – it’s also a nice contrast to Bhallala Deva’s more ostentatious lawnmower of death and massive telescopic mace. Amarendra also shows commitment to science and engineering, taking the first steps to introduce Mahishmati to an industrial age with various contraptions he builds. Some of these are more practical than others, but obviously the skill is genetic since his son comes up with some similarly inventive ideas when faced with the challenge of attacking the city walls back in the present day. There is plenty of shirtless flexing too, although Prabhas mostly keeps his chest under wraps until later in the second half when he has to compete with Rana!

Of course, the strength of any hero is only as good as the villain he faces and Rana is excellent as the devious and amoral Bhallala. This time he is more obviously evil and deliberately choses the nastiest method he can to undermine Amarendra’s reputation with his mother. He’s also still a magnificent warrior, and the final battle scene with Mahendra in the present day is powerful and compelling as the two slug it out in front of the massive golden statue.

The final conclusion in the present day is fairly short and seems somewhat rushed with little dialogue or preparation before Baahubali heads off to tackle Bhallala. Disappointingly, Avanthika (Tamannaah) only has a very brief appearance during the final battle and no significant interaction with Baahubali at all. I like the symmetry between the start and the end of the film with Devasena’s fire-walk for justice, but I would have preferred a little less flashback and more of Baahubali’s reaction to his origins before the final battle. That battle is awesome, but also seems to finish rather abruptly, so I’m hoping (probably in vain) that we might perhaps get a Baahubali 3 that does delve into the relationships of the present day a little more.

I enjoyed M.M Keervani’s music, although I was too caught up in the visuals and catching the subtitles to really appreciate the full scope. However Hamsa Naava and Dandaalayyaa are both beautiful on the big screen and I loved the martial theme of Saahore Baahubali.

The visuals are stunning and although the CGI isn’t as slick as a HW production, it still looks amazing due to the sheer scale of the images. Although there may not be a waterfall this time, instead there is a beautiful palace in Kuntala, a stunning boat that turns into a flying swan surrounded by cloud horses and a totally epic coronation where a cast of thousands almost bring down the palace with their enthusiasm for Baahubali. The action too is on a grandiose scale. Aside from the titanic battles, Amarendra Baahubali surfs on the back of cows with flaming horns, rides on an elephant and fights almost without even looking at his opponents. It’s truly epic, particularly when combined  with the uplifting themes that justice will prevail and real courage comes from those who believe in truth. With amazing ability to draw you so completely into his world, Rajamouli delivers another enthralling story that needs to be seen on the big screen to fully appreciate his vision. Don’t miss it!

Temple says:

Well, now we know where all those engineering grads with filmi connections end up…They built the kingdom and weaponry of Baahubali 2!

The thing I have long admired about Rajamouli is that even when I know what is going to happen, he crafts the drama and visuals so beautifully that I still care enough to be on the edge of my seat. It was a big ask to follow up the cliffhanger of the first film and not lose the dramatic propulsion to the finale and largely, he nailed it. There are some draggy bits but they weren’t actually dull so I didn’t mind having a bit of leisure to admire the design and occasional flourishes of whimsy. Finally, a director who gets how and when to use a swan boat (even if it looks like a top heavy chicken), and what a fantasy sequence can look like when you don’t try and make it all from painted polystyrene! I do wish they’d done something about Nasser’s rubber chicken claw hand though.

Prabhas is a delight, giving his characters both gentle goodness and a steely core, with the bonus of excellent nonchalant posing. Rana makes Bhalla a despicable and venomous man, but not completely incomprehensible in his motivation. I liked their dynamic together, and they just go all in on the fight scenes. Anushka is one of my favourites and I was so excited to see her character given some depth and competency, as well as all the usual accoutrements of a kickarse heroine. I think Prabhas can evince chemistry with anything or anyone, but Anushka gave Devasena such a liveliness that their scenes crackled with life. I actually didn’t mind that Tamannaah only appeared to kill a few baddies at the end. Based on the first film, she just didn’t stand up to Anushka or Ramya Krishnan and Avantika wasn’t integral to this part of the epic. I was glad she reappeared as a warrior though, not simpering in a sari. Subbaraju did a bit of simpering and flouncing so I guess he made up for that, with his OTT posturing settling into a more genuine will to do the right thing. And what is not to admire about Ramya Krishnan, who has been a charismatic and slightly terrifying presence in films for so long. She is amazing and Sivagami is a great fit for her.

Despite all the Ye Olden trappings, this is a pure masala film. The classic themes of family, orphans, loss, justice being separate from law, duty, and insta-love are all there. Rajamouli knows these conventions and tropes and he is so deft at throwing them into new and glittering configurations. He coaxed some truly epic characterisations out of his modern day urban kid actors, and allowed some of the old hands to shine. Yes there is some dodgy CGI and yes some actors are less impressive than others but it just works. Trust me.

Don’t nit pick. See it on the biggest screen you can. Enjoy!

Rudhramadevi (2015)

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If Rudhramadevi had been made in 1956 I’d have loved it, no question. But Gunasekhar struggles to realise his grand vision and the ripping story drags at times. The main cast give their all, but they can’t compensate for some poor directorial decisions and sloppy execution.

The first thing that hit me was the VFX. I thought it was maybe a deliberate stylistic choice as there are animated montages that look like a childs picture book. But it is just shonky quality, used too liberally, and with poor judgement. At least it distracted me from wondering what Marco Polo’s stuck on beard was made of. And why Marco Polo was in the film.

The story is so interesting this should have almost written itself. A girl is raised as a boy and keeps up the pretence to protect her kingdom for as long as she can. But Gunasekhar spends far too much time with the various enemies and uses loads of clunky “As you know Bob” exposition. I felt that there were some holes in the film and Gunasekhar was trying to paper over those gaps with other techniques including a Mega voiceover and a peasant who announced every new character with bio as well as voicing the people’s dissatisfaction with their rulers.

Anushka owns every frame she is in. She adjusts her posture and facial muscles so there is a clear distinction between Rudradeva and Rudhramadevi and is convincingly commanding. She has some weird darkening makeup on as a boy, but it does allow her to look stunningly radiant when she girls up.

Her closest female friends are Nithya Menen as her wife Muktamba and Catherine Tresa as The Other One Who doesn’t Wear Much, and there is a lightness and ease in the way Anushka moves as she drops the pretence and heavy armour undershirt to dance in the “Yay! I’m a girl” numbers. She did her damnedest in the tandav but while her expressions told a powerful story, her dancing was not as compelling. Rudhramadevi used Veerabhadra’s feelings for her to get him back on task, but she evinced far more concern about Muktamba’s reaction and wellbeing. That ruthlessness and emotional intelligence wasn’t really explored and I felt the film needed to reveal how she ruled, not just show a sequence of events.

 

I put that clip in just for some shirtless Rana. He looks so chuffed when he is prancing almost in time.

Rudramadevi-Rana Anushka

I knew a “Zorro” moment was nigh when Rudradeva wore a blue tunic done up with pink princess ribbons, and the gender reveal is a bit ho-hum. Veerabhadra took the whole “Dude, you’re not a dude” revelation quite well, all things considered. There is little sexual chemistry between Rudhramadevi and Veerabhadra, but the actors have a nice rapport, like childhood friends. I enjoyed moments like when Rana playfully tweaked Anushka’s nose as he said goodbye. While the writing skimmed the surface of characters emotional lives, the actors added their own flavour.

Gona Ganna Reddy (Bunny) and his horse seem to have ridden in from a different film; something more gothic perhaps or even a KPop music video (Jaejoong’s stylist may be moonlighting as a Telugu horse costume designer).  Bunny plays his character as unrelentingly dour and with one facial expression, but his one liners got the audience cheering. And he rarely blinks. It’s intense and unsettling after a while.

Rudrama Devi Posters

The support cast is huge. Hari Hara Devudu (Suman) and Murari Devudu (Aditya) are the Statler and Waldorf of villains. They sit back and critique everyone else but rarely do anything themselves, unless you count letting their allies die horrible deaths. Their brother Naga Devudu (Baba Sehgal) shows commendable willingness to really go for the snake theme. Nithya Menen is underutilized as Muktamba. I enjoyed her scenes with Anushka and thought her decision to respect the sacrifice and say nothing was interesting. This contrasted with the shouty peasants who just flat out refused to accept a woman, despite a rousing Prakash Raj girl power speech. Prakash Raj is in good form as Shiva Devaiah, the mastermind of the scheme that sees Rudhramadevi raised as the boy Rudradeva. Villain Mahadeva (Vikramjeet Virk) spends most of the film prancing atop a phallic tower made of polystyrene. Amusing, but you know a great hero or heroine deserves a genuinely scary bad guy and he is not the real deal no matter how many people he kills out of spite. Hamsa Nandini is slinky and duplicitous, the Bond girl of courtly spies.

Gunasekhar’s massed set pieces lack richness. If you arrange a formation of extras with one or two carefully out of position people for randomness, but then use that same formation scores of times over it ends up looking ridiculous with the pattern repetition of those supposedly random bodies. A critical battle scene started with a cool idea – one army emerging in a serpent formation as their opponents attacked in an eagle formation. But it went on forever and looked far too fake. I was reminded of the similar but excellent lotus and arrow scene in Magadheera.

One of the few actors I could imagine would happily rappel down a structure (possibly without even checking there was a rope), Bunny was plagued with dodgy wire work. Anushka was also caught so that her feet didn’t quite hit the ground or was frozen in awkward and unconvincing poses in midair. Maybe it was supposed to look good in 3D but I can’t imagine it would. And too many fight scenes and chases were sped up to slapstick comedy pace.

There is abundant weird CGI, possibly a workaround for the 3D version, although I should have remembered the effects in Okkadu. For example, when a drawbridge is being lowered they faked the cogs and ropes too which you’d think would be doable and cheaper for real. The climax scene as Rudhramadevi and elephant bring doom upon her enemies should be thrilling but it is just opportunity to crank up the bad CGI. The use of CGI elephants seemed unnecessarily frequent especially when in many scenes there was no obvious risk of physical harm to an animal – why not use a real one? And there seemed to be a bit of tusk whitening done in post production that was distractingly odd.

A big shoutout to the helmet and armour department. No design was too silly or impractical for them to try. I really wish I could find a picture of Bunny’s Glomesh helmet from the final battle, but you will just have to make do with Rana’s special dressing up armour.

Despite the negatives I really appreciate seeing Anushka as the lead with so much screen time in an awesome story. Bunny and Rana bring more interest to their characters than the screenplay demands. I would have liked to see more relationship development generally, and especially between the ladies given the story is of a woman pretending to be a man. I really wish the film had been better executed as I can see what it might have been, and the gap between what was delivered and that potential is frustrating.