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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Stree (2018)

Stree

Amar Kaushik’s Stree starts with the intriguing message that the story is based on a ‘ridiculous true phenomenon’, apparently referencing a folk-tale from Karnataka, but which really could be any one of a number of similar stories world-wide. The film is billed as a horror comedy, and manages to be both funny and scary, which is an excellent achievement in a genre that generally manages one or the other, but rarely both. The story takes place in the wonderfully atmospheric town of Chanderi, making Stree worth watching just for the architecture alone, but in addition, Rajkummar Rao is excellent, Pankaj Tripathi and the rest of the support cast are brilliant, and the blend of social commentary, dark humour and ghostly appearances makes for an unusual but entertaining film.

The basic premise of the story is the annual haunting of Chanderi by a female ghost that preys on the men of the town. For the first four nights of Navratri, Stree calls to any men she sees alone at night stealing them away and leaving behind nothing but their clothes. The best part about this is that she calls their name three times, and if they turn around, she takes that as consent. Naturally then, all the men have to do to be safe is not turn around – but somehow they seem unable to manage this. I love the idea of a female ghost that looks for consent, particularly in Hindi cinema where the men don’t usually give women the same consideration, which is of course the whole point.  But also, and more subtly, there is the message that the men are so desperate for love that they can be easily seduced by the ghost despite knowing the consequences.

Protection from Stree can also be gained by writing a message outside the house asking Stree to come back the following night. Surprisingly the literate Stree obeys, keeping the menfolk safe from her clutches as she continues to follow the directive and return the next night until her time is up. The presence of Stree means that the tables are turned and in this story it’s the men who are terrified and unable to go out alone at night. Some even resort to dressing as women to be able to venture outdoors at night safely, while the rest huddle behind their womenfolk in fear. The film has a lot of these ‘role reversals’ that shine the spotlight on the treatment of women in India. There is even an item song with Nora Fatehi gyrating away in front of a crowd of young men, but at the end she is politely escorted away by bodyguards, totally in control of the situation, while one of the men ends up as Stree’s first victim.

Against the backdrop of the ghost, the film follows Vicky (Rajkummar Rao), a ladies tailor who can gauge his clienteles’ measurements with just a glance, and his romance with an mysterious woman. Despite his obvious talent, Vicky feels that he is destined for bigger and better things, but while he’s waiting for them to happen, he spends his time in Chanderi stitching clothes and hanging out with his friends Bittu (Aparshakti Khurana) and Jana (Abhishek Banerjee). At the start of Navratri, Vicky meets an enigmatic female visitor (Shraddha Kapoor) who has come to the town for the festival, and who commissions Vicky to make an outfit for her. Although his friends are sceptical and even suspect the newcomer may be Stree, Vicky is instantly smitten and ends up on a couple of dubious ‘dates’ with the mysterious stranger. At the same time, Stree has started her annual haunting, although Vicky denies her existence until Jana is one of the men taken by the vengeful spectre. Suddenly Vicky has a reason to find out more about the ghost, and he enlists the aid of local bookstore owner Rudra (Pankaj Tripathi) and even his mysterious girlfriend to track down Stree and rescue the men she has taken.

Part of what makes the film work so well is the humorous dialogue between the three friends and the mix of jokes, physical comedy and deliberate misdirection. When interspersed with some hair-raising moments as Stree creeps up behind yet another victim, the relief gained makes everything seem even funnier and also serves to exaggerate the horror element even more. The first half in particular is well written to blend story development with comedy and horror, and although the repeated attempts to lay the ghost start to drag a little in the second half, there is still enough that is unexpected to give a few shocks right up to the very end. Rajkummar Rao is in his element and he is brilliantly funny as a small-town tailor who is mostly oblivious to the world around him. His reaction to discovering a pretty girl seems interested in him is entertaining and his slave-like devotion to her every wish is cleverly milked for every last drop of humour. Aparshakti Khurana is also excellent as Vicky’s cynical and more sceptical friend, while Abhishek Banerjee is hilarious as the more gullible and susceptible of the trio. I love the contrast between their friendly banter and the more serious discussions going on around them as Stree makes her reappearance into the town while they seem totally oblivious of the danger.

When it comes to the more spooky elements of the story, Shraddha Kapoor does a good job of shrouding her character in mystery without overdoing the ‘silent stranger’ vibe. Although she doesn’t have too much to do other than appear mysterious, her character does keep you guessing, particularly since writers Raj Nidimoru and Krishna D.K. throw in some lovely red herrings (or are they?) along the way. I really enjoyed their previous film Shor in the City, which had a blend of action, violence and comedy, but Stree is a gentler watch that adds more social commentary into the mix. Part of the novelty of the film comes from the tweaking of stereotypical gender roles and the subtle but definite insistence on women’s rights (including the right of a prostitute to insist on the use of a condom) throughout the screenplay.  Although much of the film is very dark, Amalendu Chaudhary makes excellent use of the old buildings as a backdrop, while maintaining a suspenseful atmosphere even during the daylight scenes. Director Amar Kaushil does a good job of keeping everything together with only the odd misstep towards the end of the film.

It’s not a perfect movie, but it’s a good entertainer and the digs at patriarchal society add an extra dimension to the story. Worth watching for clever dialogue, plenty of laughs, a few good scares and excellent performances from the cast. 4 stars.

Stree

ABCD 2

ABCD 2

For me to enjoy a dance movie it just needs to have a lot of dancing. Sure a story is good, some character development would be nice but as long as there is plenty of dancing then I’ll be happy. And that’s just as well, since ABCD 2 has no coherent storyline and little character development, but does have excellent dancers, inspiring choreography and plenty of hip hop. It does at times feel a little like watching an extended episode of SYTYCD, except that there is probably more drama and definitely fewer inane dialogues in the TV show. But in fairness ABCD 2 does deliver just as much dancing. Not a film for everyone, but if you don’t mind a wafer-thin plot and are happy to watch the entire cast start dancing at every possible opportunity then ABCD 2 is the film for you.

The film starts with dance group the Mumbai Stunners being disqualified from a dance competition for plagiarising their entire routine from a Filipino group. This is particularly heart-breaking for Suresh (Varun Dhawan) whose mother was a celebrated Kathak dancer who died with her ghungroos on (naturally!) and who would no doubt have been appalled at her son’s behavior if she’d been around to see it. The group is subsequently ostracised for cheating, which even includes being ridiculed and abused at their respective workplaces however unlikely that may seem. Despite these setbacks, Suresh is determined to dance and starts up a new group with an alcoholic choreographer he meets in the bar where he works. The plan is to take the new group to Las Vegas, compete in the hip-hop world championships and thereby regain their honour.

That would be fine except that the group really did plagiarise someone else’s choreography. And they never actually admit to it, or apologise for doing so. Not even when they meet the group they copied later on in the film do they ever acknowledge that they were at fault. It seems an odd omission for a film that is otherwise concerned with redemption – how can the group deserve a second chance when they never admit they made a mistake?

Suresh’s childhood friend Vinnie (Shraddha Kapoor) and fellow dancer Sushant Pujari help Suresh recruit new dancers who include Dharmesh Yelande and Punit Pathak (from ABCD), and they start their quest to compete in Las Vegas. Their chosen choreographer Vishnu (Prabhu Deva), who may or may not be the same Vishnu from the first film, sobers up exceptionally quickly and helps the group gain their second chance to show they really can dance.

Varun Dhawan is an excellent dancer and impressively keeps up with the professional dancers most of the time. Shraddha Kapoor is also much better than I expected, although she does get a break (not quite literally) when the group get to Las Vegas and she injures her ankle. That allows Olive (Lauren Gottlieb) to be a last-minute substitute, which means the group can really go for it and pull out some serious dance moves. There’s a sub-plot that involves Vishnu behaving somewhat shadily in the USA but of course it all gets resolved in time for the big dance finale.

The film does follow a similar ‘underdogs fighting for success’ path as ABCD and even includes a reworking of Bezubaan, presumably because it worked so well in the first film. However Bezubaan Phir Se is very similar to the original, reprising both the music and the dancing in water choreography but lacks the spark that made the original such a standout track despite some very impressive dancing.

Sadly ABCD 2 doesn’t develop any of the characters apart from a brief glimpse of Suresh’s mother and a short interlude with Vishnu, making it difficult to develop any empathy for the dancers or get behind their search for success. Even the few who are more than just faceless performers have little impact on the story and the film probably didn’t need an actor of Varun Dhawan’s calibre given how little he gets to ‘act’. Still, there is amazing dancing at every possible opportunity and that’s where ABCD 2 wins me over. There may not be much in the way of a storyline, but the dancers are superb, the choreography different from most Bollywood films and it’s packaged with plenty of glitz and dazzle. One more for dance fans, but that includes me and I’m already eagerly awaiting ABCD 3.