Golconda High School

golconda high school poster

Golconda High School is a family friendly youth and sport oriented film that borrows heavily from others in the genre like The Mighty Ducks and Chak de India. A ragtag team is brought together by their misfit coach to win back an inter-school trophy and protect their school sports oval. It doesn’t sound like much, and it is quite a slight story, but I quite enjoy the way the characters develop and the good lead performances.

A quick aside – My DVD subtitles refused to cooperate so I downloaded some subs. Whoever did them was undaunted by their caps lock being stuck on some letters and a mysterious appearance of the number 3 whenever apostrophes were required. But thank you, whoever you are.

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Sampath (Sumanth) is called back to his old school by headmaster Viswanath (Tanikella Bharani) to coach the cricket team. He had been cricket captain back in the day, but left the game under a cloud. Initially reluctant to commit, he is irritated into accepting the job by Kireet (Subbaraju), a board member with a keen interest in real estate, especially that large patch of land occupied by the sports ground. Kireet has an ally in Madhu (Shafi), the maths teacher and deputy principal. The boys are demotivated and unused to being pushed to excel so they provide a challenge and a reward for Sampath. Romance is supplied by English teacher Anjali played by Swathi. The story is predictable but the characters were not always exactly what I expected.

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Sumanth is likeable and blokey as Sampath. Sampath has Telugu Hero Syndrome and is never wrong about anything and is therefore not required to change his opinions or adapt in any way. But that characteristic is common to many successful sportspeople so it didn’t seem out of place. Sampath has a troubled history and he is a stickler for principles so he has a little bit of internal conflict but really, he is there to inspire the boys and to see them achieve his/their dream. Sumanth has an easy quality to his dialogue delivery, seeming conversational most of the time. He does amp up the jaw clenching and drama when it is needed, but he is not a superhero – just a focussed and determined man (once he has to be). He and teacher Anjali (Swathi) have an understated flirtation. They’re both single and attractive and they don’t play too many games, admitting they like each other quite easily.

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Swathi’s role is small but has a bit of substance. Anjali is a modern young woman with a natural and outgoing personality. Anjali is popular with the staff and students and she sometimes cajoles people into patching up their differences or cheers them on. She befriends Sampath and commends his efforts to support and develop the team. She calls him over for dinner and they share a romantic ‘what if?’ duet. Their relationship a little awkward as they both feel uncertain at times, and they seem to genuinely like each other. Again, nothing fake or flashy about it, just nice and relatable.

I like the way they phase in and out of reality, and the internal conversations they are practicing. No dancing and a bit cheesy, but you can’t have everything and this does suit their characters very well.

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The staff take on the boys in a friendly match and they all looked like they were having lots of fun. The interactions between the supporting teachers were funny in an everyday way, nothing overtly comedic but the humour of people who regularly wind each other up. There are lots of small interactions and dialogue exchanges that flesh out this school environment. When the final match is on, the parents and teachers have some good lines and little cutaway shots for reactions.

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The boys are a mixed bag, some more competent actors than others, but they make up a realistically varied team. I liked their intro sketches. But despite introducing them as simply the good kid, the fat kid, the scared kid, the angry one, the film does allow them to be a little more than just a stock type. Most of the boys face pressure from their family to excel in studies, and some are not supposed to waste valuable study time on anything else. With the exception of Siddhanth (Srinivas Sai) who is a hero-in-waiting, the boys grow up a little and assert their identities a bit more as they develop confidence. Initially resentful of their hard headed coach, they come to understand he is a decent bloke. Goutham (Santosh Sobhan) is the natural leader, the guy who gets in there and motivates his team mates when things get tough, a boy who will stand up for a friend and take responsibility for himself. Siddhanth gets all the glory for playing with an injury, but he only put himself out when it suited him. I was a little disappointed to see him given so much credit but not surprised. He and Sampath were very similar.

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Ramesh’s (Vasudev Sastry) attempt at making a film was just one of the glimpses of the boys home lives.

 

 

Varun (Sangeet Sobhan) is the fat kid but he also has a supportive family who are proud of him eventually for doing well in the game and getting a bit fitter. Ashish (Sai Kiran) has a demanding mother but she sees that the discipline of the game is good for her son and helps him focus so she drops her objections. It’s simplistic yet realistic as the parents start to see differences when their kids are happy and productive if not all budding rocket scientists. I’m pretty sure I’ve seen Santosh Sobhan and Farookh (who plays Mikey) as younger versions of heroes in other films.

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I like Subbaraju in character roles and he is well suited to playing the slightly intimidating Kireet. Well, except in a few scenes with Sumanth where he looks like he is about to crack up laughing.

Given Subbaraju’s track record of being able to go from zero to full blown fury in a nanosecond, I kept wondering if Sumanth was pulling faces out of shot. Kireet represents the short term hunger for profit over long term society gains. He and Madhu dismiss anything other than getting students to rank as a waste of time and potential earnings.

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Watching them as they watched the pivotal match was highly entertaining. You could see Kireet’s motivation for Golconda high school to lose warring with his appreciation of the game.

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He and Madhu seem to be caught  in the filmi bad guy equivalent of an unhappy marriage, stuck with each other until the bitter end.

Mohan Krishna Indraganti’s films have been a bit hit and miss for me. I found Grahanam interesting if depressing, Ashta Chamma was successful in parts but I found a couple of the performances weak and annoying. I haven’t seen Mayabazar as I am allergic to Bhumika Chawla. Golconda High School is a film I didn’t expect to like anywhere near as much as I did. Nobody dances, nobody dies. But the characters are relatable, the performances are pretty well balanced and the messages strewn throughout are mostly ones I agree with. I also liked the photo montages over the opening and end credits that stayed true to the ideals of sportsmanship, team work and friendship. 3 stars!

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Big Boss (1995)

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I felt the need to end 2012 watching something with a quick and decisive approach to justice and guaranteed consequences for the baddies. Vijaya Bapineedu’s Big Boss delivers, albeit in a fairly slapdash manner, and is boosted by the presence of Chiranjeevi, Roja and Sujatha in key roles. If you’re not a huge Chiru fan you could just watch the songs. Actually the opening titles almost tell the whole story. If you can tolerate plot holes, enjoy colourful dance numbers, or just like bad wigs and interior designs, this could be quite rewarding.

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Bavaraju Surendra, AKA Basu (Chiranjeevi), is an educated man who chooses revenge over a career. His father was murdered and his brother crippled in an incident many years ago, and Basu has not forgotten. Basu moves to the city to pursue his revenge. He ends up getting caught between opposing crime lords and is vigorously pursued by Roja who has set her cap at him.

Basu rents a room from a local widow (Madhavi) who is related to Roja (I never remember her character’s name). Living in this household allows Basu to see the injustices inflicted on residents of the area. He is the kind of guy who stands up for the defenceless and then berates them for letting one goon intimidate dozens of them. He has difficult relationships with his mother Thulasi (Sujatha) and sister Sumathi, and they don’t automatically accept he is right just because he is a bloke.

Chiru is mostly in action hero mode but the role does give him some sentimental moments with his ma, some silly mugging and slapstick with Roja and a bit of speechifying and social consciousness raising. It’s a tailor made package, right down to a running gag with Johnny (Ali) who believes Chiranjeevi is really Chiranjeevi.

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Thulasi reminds Basu of her dreams for the family, and won’t accept his decision to turn vigilante. When he takes her back to the old mansion she thanks him for returning her to the Hell she had escaped. Sujatha has little dialogue but a strong presence and her reactions and expressions are really effective. I wasn’t expecting a subtle filmi Ma but she is really lovely.

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Roja has the most peculiar wardrobe. I think the outfits are meant to be ‘modern’ and also represent her mental age of 9. She is constantly reprimanded by her grandmother (Nirmalamma) for not being able to tell the difference between flower and leaf and she does indeed seem a bit dim. She is all over Basu like white on rice and he just finds her irritating if not insane. Who can blame him?

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Rarely do I agree with the filmi advice to pop on a sari and you’ll snag a husband, but it really was a relief to see the end of the fruit hat.

Despite the horrors of the costume designs, Roja is at her best in the songs when she escapes her character’s childish habit of squealing. I know this is a remake but it is lots of fun.

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Varadarajulu is a slimy nasty villain, played to the hilt by Kota Srinivasa Rao. With his effete mannerisms and terrible wig he should be comedic, but he has a sadistic streak and a psycho wife in coloured contacts. He is bad news. He killed his father and brother (Basu’s father) with the help of his wife. Ankineedu (Narra Venkateswara Rao) is more sympathetic as crooks go, but his adherence to the mafia code means he is not long for this world.

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The action scenes are many and bloody. The fights are heavily choreographed and while that makes them look less realistic, they are violent. Death takes many forms. If you’re on the wrong side it is Chiru and his trusty matches as he douses the baddies with petrol. The police are corrupt and so are the lawyers. If you can’t get your own justice, forget it.

In a recent discussion with Beth and Sujoy we agreed that none of us understand why people say there is no sex in Indian films. Sex and relationships are clearly a part of this story. Consensual sex between people who like each other is not treated harshly at all. In many films, Roja would have been marked as the bad girl based on her dress, her forwardness, her dream of climbing into bed with Basu (and then telling her grandmother all about it). Grandma seems to have been a bit wild in her youth too. When Madhavi’s blouse is deliberately torn, Ankineedu is furious at his son’s behaviour while Madhavi holds her head high. Varadarajulu’s wife uses sex to lure men into helping her, Sumathi chooses a marriage as a way of escaping what she sees as a useless family. Women behave in a range of different ways and with varying degrees of ‘niceness’, but they have clear goals and feel free to go for them. Only one of those women dies – and as a mini spoiler, it had more to do with being downright evil than expressing desire. Telugu films are hero-centric, but if you watch what is happening on the periphery, sometimes there are interesting things going on.

Mind you, I cannot be certain that generosity is deliberate. Basu’s youngest brother appears to regrow a lost leg late in the film.

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And at the time the father was killed, there were two kids and I don’t think Thulasi was pregnant so I have no explanation for Sumathi. Maybe they just forgot to kill off the bad girls. Details, boring details!

The songs are a viewing highlight, and Bappi Lahiri is quite restrained. The introductory song is Chiru as seen by his fans, and I think it was filmed at an actual Mega Birthday event. Nearly all the picturisations are from Roja’s point of view, and are her fantasies. Roja escaped a bizarre assault in which creepy cop Tanikella Bharani threw a bucket of water over her before tearing her ugly skirt off to reveal an even more hideous dress underneath. Her grandmother had to explain the significance of a rain song. So Roja launched into one of my favourite rain songs, and kindly imagined Chiru tearing his own shirt off. In her dream of crawling into Basu’s bed she tears her blouse.

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After a few double entendres, this song actually makes sense (except the chicken references). I can’t explain the little people or their outfits.

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This isn’t a film that rests on nuanced performances but apart from Chiranjeevi, Roja and Sujatha, I have to say Ali was good. He played a character rather than doing comedy, and when I saw him tied up with a time bomb stuck to his chest, I was sorry. But he IS a comedy uncle so my tears were held at bay. Allu Ramalingaiah has a small role as a deaf yet singing policeman. Tanikella Bharani overacts like his life depends on it. Despite being cartoonish there is a nasty edge to his character although he does redeem himself a little at the end. The assorted That Guys all do their thing and succeeded in being so vile I cheered as each was dispatched.

The design teams were unfettered by practical considerations or good taste. Is that a kangaroo statue I spy?

And the costume team shared the love.

The climax fight took place in a masala death trap (complete with giant gas cooker thingie) and a godown filled with rooms of things that look cool when they break. Divine intervention, Megastar powers – whatever the reason, the bad guys got their just deserts.

One for the Chiru fans. 3 ½  stars (extra for the dancing)

Takkari Donga

Made back in the day when Mahesh Babu was more baby-faced than baby-faced killer, Takkari Donga is a cowboy treasure quest featuring a map, a secret ‘diamond valley’, plus some bad acting and worse outfits courtesy of Bipasha Basu and Lisa Ray. Oh Mahesh. You’ve come a long way!

The Mahesh Fan prompted me to watch this film some time ago (“It’s Mahesh! In chaps!!”). As I often do, I ignored her. She sent me the link to watch it with subs on YouTube. Again, I somehow managed to ignore that (“It’s Mahesh! In chaps!! And there’s venom sucking!!!”). Finally she turned up at my house with a DVD made up of all those YouTube clips cobbled together. Resistance was futile. And she was right – it does feature Mahesh in chaps, and there is indeed venom sucking. I don’t think they are the most compelling reasons to watch a film, but I was quite amused by the sheer silliness that has diamonds harvested like fruit and a bit of skanked up boot-scooting. I watched it ages ago with Beth and Amrita and they found it tedious. But I say there is (fools) gold in them thar hills.

It’s a pastiche, maybe more along the lines of the Trinity series than a purported remake of The Good, The Bad and The Ugly. The music is a good match as Mani Sharma veers from Marlboro Country anthemic to cheesy songs. There is also a fair dollop of ‘sad trombone’, Addams Family finger snaps and samples from other Hollywood soundtracks. The camera work is often lovely and there is good use of aerial shots that help capture the grandeur of stunning scenery. It’s loaded with cowboy film standards – a saloon brawl, pratfalls, gun twirling and enigmatic galloping. There is a rickety bridge, TNT, smart horses and dumb humans. All the clichés, lovingly filmed for our enjoyment. Plus lions.

Mahesh Babu is Raja, the titular ‘Tricky Thief’. Raja has a tragic backstory that featured his family, a tiny white puppy and villain of the piece Shaka at his most sadistic. He’s an enigma. I mean, where does a man who is essentially homeless keep that extensive hat collection?

 

 

 

 

 

 

 

 

 

 

Raja’s bullets pack an extra punch as several opponents are literally blown away with a single bullet, flying out of shot thanks to some enthusiastic wire work. But he also deals with an epic rope bridge confrontation simply scaring the bad guy silly by wobbling the bridge so it’s not all guns and blood spatter. I could empathise with the creepy Dega in that scene. A friend did that to me every single time we crossed a bridge in Nepal and he always found it amusing to see me ricocheting past yaks and backpackers as I fled into the distance.

Of course, the bridge HAS To break eventually but the villain is actually sent to his death by a fluffy white dog. Excellent! And then Mahesh rescues the dog so he is doubly heroic and the music agrees. I do like a good dog assisted comeuppance.

Panasa (Bipasha) makes her entrance pretending to be blind in order to rob Raja who had just robbed a train. Raja pursues her to get his booty (the money – I’m talking about the money). Despite Mahesh making loads of noise and lighting up a cigarette she persists in pretending she has no idea he is there which makes for a nicely gratuitous bath scene. She falls for Raja but to no avail, as he seems immune to her charms as amply signalled by her snug fitting leather pants.

Lisa Ray is Bhuvana, the girl destined to marry a man with exceptional qualities and a significant mole on his thigh. She sets off on a perilous journey to her uncle’s house with Raja as her paid guard, but really she is all about checking him for that mole. Lisa got a gratuitous bath scene as well as the venom sucking scene so I feel the film maker’s objectives were clear.

There is a vague love triangle as Panasa chases Raja who is sort of keen on Bhuvana who hates Raja but we know that won’t last. Panasa is a piece of work, conspiring with her sidekick (Tanikella Bharani with comedy moustache) to get Bhuvana kidnapped by the horrible Dega who likes his women to be unwilling and temporary guests.

The humour is very slapstick, uneven and only intermittently funny. Sometimes things do work well. I liked the way Raja would scoot into frame during the Chukkallo Chandrude song and shoot people to emphasise the beat. And if you ever wanted to see Mahesh weaponise a bra – wish granted.

Rahul Dev is the villain Shaka. He is obsessed with finding the map that Veeru (Ashok K Kumar) escaped with. 18 years of looking and time has not mellowed his disposition. I can’t help but think that if he had actually looked for the diamond valley rather than the man with the map he may have got there all by himself. Shaka has an unfortunate tendency to let his victims die before they speak so he is eternally frustrated. He is a sadistic psychopath and appears to own just one outfit. He has a significant scar but I think his nose is just so hypnotic it takes a while for Raja to notice the fateful mark.

 

 

 

 

 

 

 

 

 

 

But the plot is not really worth discussing in detail. Either you’ll enjoy the story unfolding or you won’t care. It’s set in a non specific time and place using Western tropes including a Texas Rangers Sheriff badge alongside piles of chilli drying in the sun mixed with tacky plasticky photo frames and vile synthetic fabrics. The design team had some fun with the map and subsequent clues and the diamond mine is quite astonishing.

I was quite concerned when I realised there would be lots of horse scenes as frequently the stunts in films are horrifying and it is obvious that some animals would have been severely injured (at best). Takkari Donga relies mostly on the horse chase and equine acting so there was nothing that had me ready to cover my eyes. The fluffy white dog seems to have mysterious powers of teleportation. He generally trots along after the drama waiting for a chance to save Raja so that was also quite stress-free.

Jayant Paranji did go on to make the excellent Shankar Dada MBBS and Teen Maar, and we all know Mahesh’s star continues to rise so clearly this film was not the career ending move it might have been. The choreography is uninspired despite a credit for Saroj Khan (among others). Make sure you watch right to the end for a special appearance by Superstar Krishna and for the blooper reel. 3 stars just for the so bad it’s good-ness!