Naa Peru Surya, Naa Illu India (2018)

Naa Peru Surya

After writing a couple of hits for Telugu cinema, Vakkantham Vamsi has moved into directing his own screenplay with the release of Naa Peru Surya, Naa Illu India. However, despite an excellent opening scene, the film quickly loses momentum and is let down by poor story development and lack-lustre dialogue, most notably between the hero and his estranged father. The bones of the story are there, but Vamsi tries to mix in too much masala in the form of a dodgy crime boss and a rather limp romance, that dilute down what could have been an excellent coming of age movie. It’s still entertaining though, mainly due to an outstanding performance from Allu Arjun, while there are some excellent action and dance sequences that almost make up for the jumbled storyline.

Bunny is Surya, an army officer with more than a few anger management issues. This leads him into trouble, although to be fair the two incidences where he loses his temper in the opening scene are reasonably justified. It’s more that the magnitude of his response is well above what would be considered ‘normal’ and that’s what ends up being his downfall. After an incident with a terrorist leads to his dismissal from the army, his only shot at redemption is to get a letter signed by eminent psychologist Dr Rama Krishna Raju (Arjun Sarja) certifying that Surya has conquered his anger issues. The problem is that Dr Rama is actually Surya’s father, although the two haven’t spoken since Surya walked out when he was 16 years of age. Surya has been raised and supported by his ‘uncle’ Rao Ramesh, who has sponsored his recruitment into the army and manages to persuade his commander, Colonel Sanjay Shrivastav (Boman Irani) to give Surya one last chance.

There is great potential here, but the basic story of Surya’s road to redemption is almost lost behind the subplot of conflict with gangster Challa (R Sarathkumar) his son (Thakur Anoop Singh) and henchmen, Pradeep Rawat and Harish Uthaman. While these scenes are well filmed with great action sequences, Surya’s anger management plans languish in poorly constructed scenes with his father. Where there should have been crackling tension between Surya and Dr Rama there is instead uncomfortable chat that doesn’t come close to developing any kind of relationship between the two men. Granted the premise is that Dr Rama has completely shut Surya out of his life, and Surya will do absolutely anything to get back into his beloved army, but their interactions are so cold and clumsy that they become meaningless. What I wanted was tension and some level of self-realisation from Dr Rama and Surya, but instead there is just Surya’s anger, represented by discordant background music, and a manufactured conflict between Surya and Challa’s son that he needs to ignore if Surya is to go 21 days without fighting.

Oh yes – that’s the other odd plot point. If Surya can demonstrate no angry outbursts in 21 days he will apparently have conquered his problem. This sounds like a google-based plan of anger management and not the evidence-based behavioural therapy expected from a University based psychology professor, but by this point it’s not one of the most far-fetched ideas in the film.

Also problematical is Surya’s romance with Varsha (Anu Emmanuel). Anyone faced with the kind of anger towards them displayed by Surya would start running and not look back, so Varsha’s continued interest in Surya is hard to fathom, especially when she has zero chemistry with Bunny (and how is this even possible?). The romance makes little sense and doesn’t fit into Surya’s self-inflicted isolation shown in earlier scenes when he single-mindedly pursues his goal to be stationed at the border. Anu Emmanuel has little to do other than look glamorous and ‘stand by her man’ at the appropriate point in proceedings. All of which she does competently but it’s another disappointingly pointless heroine role that adds little to the main story. Another wasted character is Surya’s mother, who doesn’t fit at all well into the narrative and fluctuates between apparently not recognising her son and extreme anger at his absence for all these years.

Despite the shortcomings with the screenplay, what does work here is the character of Surya and his struggles to conform. Surya does manage to control his anger but it’s at the expense of his own self-worth and Bunny gets that inner conflict across perfectly. He shows the enthusiasm and fire that drives Surya to be the best soldier he can be, along with Surya’s passion for his country and makes it seem completely natural. Even better are the later scenes where Surya has to come to terms with the compromises he has made to try and meet his 21 days target. What the dialogue doesn’t manage to get across is plain to see on Surya’s face and in his body language. It really is one of the best performances I’ve seen from Allu Arjun and he completely gets under the skin of his character, dour and driven, with only the songs showing his normal cheeky grin. The support cast are all competent and do as much as they can with their limited roles. Thakur Anoop Singh makes the most impact and is impressive in the action scenes, while Vennela Kishore does manage to sneak in some comedy. It’s great to see Arjun Sarja back onscreen but disappointing that he has so little to do here.

The action sequences are excellent and choreographed to make Surya’s one-man army seem plausible, particularly when intercut with scenes of his army training. Naturally no-one can stop Surya when he’s angry, but the action is well put together and Bunny makes it all look effortless. The songs are generally good too, although the first two have little dancing – which surely is a crime in an Allu Arjun film. However just as I thought that, Lover also, Fighter also started with some great moves and awesome tricks with a cap. Bunny interchanges between ultra-classy and gangsta-wannabe in this song, but when it’s right, no-one does stylish like Allu Arjun!

Vakkantham Vamsi tries to include ideas about the evolution of home-grown terrorists but this is overly simplified and has little impact. I was expecting plenty of patriotism and Naa Peru Surya has a surfeit of flag waving and speeches about a United India that feel contrived, but inevitable in any film that mentions the army. If Vamsi had stuck to a straight-forward story about one man’s redemption this would have been an excellent film. However as it stands, with the additions of a gangster storyline, romance and failed family relationships, Naa Peru Surya has too many threads vying for attention and doesn’t do justice to any of them. Worth watching for Bunny, Arjun Sarja, who does a good job with his limited dialogue, and the dance sequences – just don’t expect too much from the story.

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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.

Duvvada Jagannadham (2017)

In his latest release Harish Shankar sticks closely to the standard formula for Telugu hero-centric films, which makes Duvvada Jagannadham rather less exciting than it could have been. There is hardly any suspense and few surprises as the hero flexes his muscles, obliterates the bad guys and romances the heroine while recouping lost money for the victims of a property scam. What makes it watchable are the excellent performances from Allu Arjun, Rao Ramesh and Subbaraju who add life and energy to an otherwise pedestrian plot. The story might be plodding along, but the cast give it their all, and with many other veteran performers including Murali Sharma and Posani Krishna Murali, and some good songs, DJ ends up as a reasonable timepass.

The story opens with a young Duvvada Jagannadham Sastry picking up a gun and executing a gang of thugs who attack policeman Purushottham (Murali Sharma) in his local market. Not content with his body count so far, he then turns the gun on a suspected rapist in the police station and shoots him too. Bizarrely the police officer in question rapidly recovers from his previously incapacitating wound and then doesn’t bat an eyelid at the young multiple murderer, instead enlisting him as a vigilante in his never-ending war against crime. Because of course there is nothing abnormal about a young boy killing in cold blood (and also being a fantastic shot) – not in this film at any rate.

Moving quickly among to the present day and Duvvada Jagannadham (Allu Arjun), aka Sastry is a Brahmin priest who runs an all-vegetarian catering business in Vijayawada along with various members of his family. Sastry is devout, speaks in very precise Telugu and is passionate about his cooking, although he doesn’t take life too seriously as demonstrated by a recurring joke about using asafoetida in tamarind rice. Bunny is good here, particularly with the comedy scenes and dialogue, while the trio of Sastry, his father (Tanikella Bharani) and uncle (Chandramohan) make a good team as they feed the hungry hordes of wedding guests around Vijayawada.

However, when Sastry answers his phone he becomes a totally different person – his posture is different, his voice deeper and the language less classical. Going by the name of DJ, Sastry’s alter ego is still a vigilante killer working for Purushottham eliminating criminals permanently from the streets of Hyderabad. DJ is super stylish and ultra cool, which ensures that Bunny remains ‘the stylish star’ despite spending much of the film in more traditional attire. Naturally DJ is also an accomplished killer, although quite where he learnt his skills is as much of a mystery as his motivation to cleanse Hyderabad of all criminals. The action scenes here are all beautifully choreographed by Ram Lakshman and Bunny carries out the various impalings, defenestrations and executions as smoothly and effortlessly as he performs his dance routines, and with just as much style. Sadly, there isn’t much else to the character of DJ beyond the dapper surface and efficient bloodshed. There is no rationale behind why his character is driven to such violence, particularly since he has been raised as a priest and generally seems to be a kind-hearted and benevolent priest at that. There is a brief comment by his father at the start, questioning why his son has so much rage, but this is not explored at all, and of course Sastry never shows any sign of the explosive ferocity that is characteristic of DJ.

Naturally there is also a heroine, and as might be expected from the formulaic plot, Pooja Hegde’s presence is completely superfluous to the story with her only purpose seemingly to be to appear in as many skimpy costumes as possible and dance in a few songs. The brazen character of Pooja seems unlikely to appeal to the traditionally minded Sastry, and although her designer credentials might interest DJ, her nasty, childish behaviour when they first meet is unlikely to impress. The camera spends more time focused on Pooja’s navel than on her face and it’s a shame that the only real emotion she gets a chance to display is when she’s shopping in Abu Dhabi – her excitement here is the only genuine moment her character has throughout the entire film. Still, she does look stunning, and has good chemistry with Bunny in the songs, but it’s a shame that she has no opportunity to do anything more.

DJ becomes personally involved in the case of a property scam where the real criminal Royyala Naidu (Rao Ramesh) hides behind a proxy (played by Prabhakar). Royyala’s son Chintu (Subbaraju) also becomes involved when Royyala conspires with Pooja’s father Minister Kusuman (Posani Krishna Murali) to marry their respective children. Subbaraju is excellent as a crook with an unusual idiosyncrasy, particularly in the final showdown with DJ and Royyala.

Throughout the film Bunny excels with his comedic dialogue as Sastry and does a good job of keeping the two sides of his character quite separate and different. As always his dancing is superb on every level and I did appreciate his collection of sparkly sneakers in various colours too. Devi Sri Prasad’s songs are good, although the song sequences aren’t connected to the plot of the film and seem to be simply added in as part of the standard formula – “fight scene/ family scene/ romantic moment/ song”, and repeat. However, the dance sequences add in energy and give Pooja and Sastry/DJ a chance to develop their romance that otherwise appears rather lacklustre.

Duvvada Jagannadham is disappointing, but the action sequences are impressive, the songs are excellent and Bunny is always watchable. There are some good dialogues that were well appreciated by the audience here in Melbourne, and the comedy with Bunny, Vennela Kishore as his cousin Vighneswara Sastry and the rest of the family is generally pretty funny. The major issue here is the formulaic plot and uninspiring screenplay that feels dull despite the good performances from the cast. However it’s not all bad and there are some scenes that work very well, it’s just that it doesn’t all gel together as it should. Worth watching for Bunny, the songs and the action, just don’t expect too much from the plot.