Tag Archives: Telugu

State Rowdy

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It is no secret that we are fans of Chiranjeevi, masala, action, dancing, convoluted stories and crazy outfits. State Rowdy fulfils many of our film wishlist items. In addition, this film is often cited as the inspiration for Pokiri/Pokkiri/Wanted.

Chiranjeevi plays Kalicharan – the local tough guy, self designated State Rowdy and goon with a heart. He systematically takes on and eliminates all other rowdies on his turf (the coastal rowdy, the Rayalaseema rowdy, the Nizam rowdy …you get the picture).

Bhanupriya plays Asha, a local girl who witnessed a murder and flees the scene. The killers know she saw them, but don’t know who she is. The SP (played by the impressive and elegant Sharada) also wants to find Asha as the murdered man is the policewoman’s husband.  And oh yes, she is the long lost daughter of… never mind. Just go with the flow!

Kali and Asha cross paths and romance sparks – especially once she gets an eyeful of his manly dance style and gold tipped boots.

The police try to find out who is kidnapping all the rowdies, and the goons plot to rid themselves of the menace who is kidnapping their men.  Meanwhile, the lovely Radha pines over her lost love Prithvi….but how is this all related?

Just to add to all this confusion we also have local crime lord Narendra Bhupati, his merry band of brothers one of whom was responsible for the murders, and local businessman and would-be CM Mankamatti Bhaskar Rao who are all searching for the eye witness for various reasons.

All paths lead back to Kalicharan. Through a series of slightly confusing but very charming flashbacks we learn of his early life as good boy Prithviraj who wore white pants and parted his hair neatly on the side. Prithvi was a promising police cadet but was apparently passed over for promotion, had a spat with his superior, and left the force. His life went off the rails and he became the scourge – Kalicharan.

Radha (played by Radha), Prithvi’s cousin and fiancee, discovers his double life and engineers an emotional confrontation between the headband and muscle shirt wearing Kalicaharan and his sari clad mother.  The truth behind his fall from grace is revealed and like all things confided in secret, becomes well known in no time at all. All parties seek to use him to gain victory and to exploit his vulnerability while he strives to achieve his goal and protect his loved ones…and keep the girls from learning of each other’s existence.   Displaying a fine sense of political fair play he accepts payment from opposing sides and splits his resources to cover both obligations. And then resumes his policing career. There are kidnappings, mistaken identities, corpse swapping, and that’s not even the tip of the iceberg.  Once again, these succeed because Chiranjeevi is believably physical and heroic.

From a heavily customised budget friendly Bond style motorbike to the thrilling conclusion, the laughs and gasps just keep coming.  The climax scenes involve a return from the dead (that corpse swapping incident), kidnapping, blackmail, a masala death trap of delightfully rickety and impractical design and a lot of explosions and crashes.  And a brilliant sequence with Chiru, trapped inside a spherical metal cage, being used as the ball in a game of car-soccer. We said this got a bit convoluted!

Chiranjeevi is in fabulous form. Even in this broadly drawn character he manages to convey some nuance and a deft comedic sense. Prithvi’s flirting with Radha is sweet and a bit awkward and a total contrast to the swaggering Kali. There is drama, emotion and romance galore and his performance hits all the right notes. He seems to be having a fine time in the action scenes, and his dancing is fabulous.  He even puts in a brief appearance as Arjuna in full gilded kit. One thing we just love is that he never seems inhibited by even the most peculiar wardrobe choices.  In fact, he looks so happy and as if this is all huge fun for him.

We must make special mention of the costumes, especially in the song sequences. Even for 1989, and allowing for flights of fantasy and a bit of a fashion time-lag between Paris and Hyderabad, there are some absolute shockers. The star cast give the songs a boost as they all throw themselves into the choreography. Bappi Lahiri does his disco thing and the songs are really catchy and fun.

The supporting cast are all solid and do what they do in every film. Sharada has credibility as the angry SP and as the grieving widow and mother. Allu Ramalingaiah plays Quotation Chakravarti, part of the comic side plot, and is very effective. We struggle with many of the comic side plots but this is fairly well integrated into the story so works better than some.

The stunts and fights are so over the top and fantastic to watch. Once again, these succeed because Chiranjeevi is Chiranjeevi. Of course good will triumph, love will find a way and justice will prevail. But we encourage you to watch the film to see how much fun the journey to a foregone conclusion can be!

Heather says:  This has to be one of the most bewildering films I have watched for some time.    The plot is incredibly convoluted and the various relationships of the characters to each other didn’t seem to be necessary for the story but just added to the confusion.  I felt that there were really two separate films rolled into one, but this did have the advantage of giving us two Chiru’s. One suave, charming and dedicated to fighting crime, and the other tough, street wise and just dedicated to fighting.  He is fantastic in both avatars, and the switch between the two is very clear and well defined.  The female leads – all three of them – deliver some very fine performances, as do the supporting cast.  While the songs themselves are great, they seemed to be oddly placed in the narrative. The really terrible (and therefore fantastic in a ‘so-bad-its-good’ way) costumes didn’t help with this sense of displacement and for me, detracted from some very good choreography.  The dancing and action scenes were of a very high standard, as we’ve come to expect from a Chiranjeevi film, but what stood out for me was the dancing of both Bhanupriya and Radha.  Both kept up with Chiru and managed to make their moves look effortless.   Despite the confusing storyline the film is great fun.  My advice is to forget about trying to understand what is happening and why, and just try to keep up with the action!  I have to say that Chiru in a uniform makes any amount of mystifying storyline watchable. And since everything works out in spectacular style by the end I would recommend this film as a must see. 4 stars from me.

Temple says: I didn’t find the film all that confusing, just unnecessarily convoluted and a bit fragmented as it relies on flashbacks to fill us in on the story. But it is immensely enjoyable as it plays around with the rowdy stereotypes and allows Chiru to be both the good boy and the dangerous ruffian. There is a common theme of justice  in many Telugu films, and a few interesting takes on what justice is. In many instances it seems that despite what the law says, if the consensus is that a good man kills a bad man, then that’s probably OK. These themes do get a work out in State Rowdy but ultimately the law is seen to triumph; albeit with some help from the invincible Chiranjeevi and the determined Sharada. In addition to the excellent acting, the director decided to unleash the full might of the wardrobe team and make sure that Prithvi and Kalicharan looked nothing alike. Some dubious, but very entertaining, outfits were the result and the backing dancers and support cast enjoy the fruits of these labours too. And the ladies didn’t fare much better. For the most part the songs were reflecting the heroines’ wishes or dreams so they didn’t have to look at all realistic or be cohesive to the narrative either. The more pertinent question would be why, if you are fantasizing about a man, would you dress him up like that in your imagination? So much shiny metallic lycra – it’s quite concerning! I was going to say “less is more” when it comes to costumes but that might be misconstrued so let’s just move on. The support cast were very good, and there were some amusing little subplots and throwaway lines in amongst all the dancing, prancing and biffo. I found this very entertaining. I like detail, and this film has lots of it! I know this might not be to everyone’s tastes, but if that is the case then I think there is something wrong with you. Chiranjeevi is just awesome as State Rowdy. I give this 4 and 1/2 stars!

Arundhati

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Arundhati is a wonderful revenge story with plenty of melodrama, over the top action and what appears to have been an unlimited budget for blood.  Add in a heroine driven storyline with some excellent performances and it makes for a worthy  addition to the South Indian Cinema Induction Programme.

We learn through flash-back that Arundhati was a princess of Gadwal, trained in the arts of dance and war.  Her bravery even as a child was likened to the goddess Jejamma, so this was how she was known.

Her sweet and innocent older sister, Bhargavi was married off to Pasupathi, the evil and depraved nephew of the King, who enjoyed a protected status despite his raping and murdering ways.  After he attacked and killed Jejamma’s blind dancing teacher, Bhargavi killed herself.

In revenge the precocious young Arundhati beat Pasupathi, tied him to a horse and drove him from the kingdom.  Despite extensive injuries he didn’t die, but was rescued by a group of Agoras and learned to be even more evil, which we didn’t think was possible.

Having his vile talents augmented by the knowledge of tantric arts and by the possession of malevolent spirits, he returned to take revenge on Arundhati, fortuitously arriving on the day of her wedding.

Some excellent posturing and slashing later, including a take on the drum scene from House of Flying Daggers, Arundhati defeated him and imprisoned him in the palace, still alive but trapped in a fairly well constructed tomb.

Two generations later and there is a new Arundhati, who comes back to town for her marriage.  Pasupathi is now an evil spirit, confined in his grave in the ruined fort by various amulets and prayers which prevent his escape.  He uses the influx of naive newcomers to try and break free of his prison. He tricks a young couple into entering the fortress where one disappears and the other becomes insane.  Attempts by the mad man to break open the grave are thwarted, and he ends up being chained up in the village.  Pasupathi is able to lock doors and move objects to try and kill Arundhati’s father, but luckily can’t use the same tactics to escape.

Just as an aside to all heroines and disposable sidekicks – if you go into a building and have to break cobwebs which are thick enough to block your way, there is a very good chance that the friend you are looking for is not actually there, since otherwise there would already be a path of broken cobwebs – just a suggestion!

Eventually and inevitably Pasupathi manages to break free and torments Arundhati. She now has to come up with a way to vanquish this evil spirit for good, otherwise he will claim her as his wife and all of her family will die.   She has some help in the form of a Muslim fakir who seems to be pretty well unstoppable, which is just as well as there are many attempts on his life!  Sadly he is pretty inept at passing on the simple instructions he was given to stop Pasupathi or the second half might have ended much sooner. Everyone else who tries to help her dies – usually in very gruesome and bloody ways!  Did we mention this film had an exceptional gore and blood budget? The heavy-breathing Pasupathi manages get Arundhati exactly where he wants her – but will he succeed in his evil plans of rape and revenge? Will Arundhati remember her brave heritage and triumph over her immortal adversary?

Anushka excels in her double role as both the modern day Arundhati and the warrior princess.  In Jejamma mode she is masterful and determined, while in the modern day avatar Anushka manages very well to convey the despair and madness as Pasupathi torments Arundhati with images of her family’s fate.  She carries the film, and manages to be compelling, beautiful and convincing. However, there are some scenes later in the film that drag on for far too long. There is really only so much whimpering and scrambling that Anushka can do in her modern day character before the impact of her reactions fades. The young actress Divya Nagesh who played the young princess Arundhati was a delight to watch as she faced down the original Pasupathi.   Sonu Sood appeared to revel in his role and conveyed the total depravity of his character with great gusto and much eye twitching madness.  He seemed to be having such a great time as the completely evil Pasupathi and we just love him in this total manic mode! There is a downside to this wholehearted effort. He is just having too much fun and it detracts enormously from the characterisation. In some scenes he looks like he is barely restraining laughter and as a result Pasupathi just isn’t really evil enough to be truly frightening. As the second half was quite drawn out and hinged on Arundhati’s fear of Pasupathi, the lack of real menace did make the film feel overly long and the uneven pace was jarring.  Sayaji Shinde puts in a very credible performance as the knowledgeable fakir, and we loved seeing Manorama as the old servant who fills in the back story for modern day Arundhati and us.

The music is well integrated into the drama, and all songs serve a purpose. The cinematography is excellent and both the set and costume design really enhance the story. The special effects are for the most part used well, but there is a tendency to overdo things. The blood and gore team were especially enthusiastic!

The novel (to us) use of death by coconut was dramatic but repetitive and once again, key scenes dragged on a bit too long to sustain the drama. The climax of the film seems to stop and start. Modern day Arundhati had to scramble around crying and panicking for ages until the two storylines started to piece together for the conclusion. We theorised that the director still had a couple of days and half the blood budget left to use and decided to just go for it. The ending is bloody and violent and yet uplifting once it really gets going.

Heather says: I loved this film.  The two leads are fantastic and the child princess Arundhati does a really good job for such a young actress.  The story is very heavily focused on Anushka, and this is probably one of the film’s flaws in that the other characters don’t ever really engage us.  Sonu Sood is totally manic, which makes for some great viewing but not necessarily the best approach for his character. His Pasupathi was too cartoonish to ever be scary, particularly in the latter half of the film where the heavy breathing began to become wearing.  However, he was very watchable and certainly seemed to be making the most of his time in the film.  There were a few too many plot points clashing with each other at the end, and modern day Arundhati was just a little too wimpy. But still a very watchable film – I give this 4 ½ stars.

Temple says: I really enjoyed seeing a tough yet feminine heroine driving what is for the most part an action film. Anushka is stunning in this, and deserved the critical acclaim and awards. I like Sonu Sood but his hamming annoyed me. It wasn’t really the role for a lighthearted villain and would have benefited from a more menacing performance. As it was, he reminded me of a character from an old TV series – Catweazle. You can go look that up and see what I mean! The film really is the story of the bitter enmity between Arundhati and Pasupathi so that lack of serious venom detracted a bit from the overall impact. The pacing was all over the place too – some scenes dragged on far too long, while others rushed through interesting bits of the back story. The modern day avatar of Arundhati didn’t get much to do apart from crying and running until towards the end of the story.  But thanks to the amazing screen presence of Anushka the film is absolutely rivetting at times.  I give this 4 stars – it would  have been less except for her extraordinary performance.

Komaram Puli

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Once again we ventured to the cinema on an unsubtitled adventure. The session screening time had been changed a couple of times due to various delays with the film’s release. So it came as no surprise at all to still be waiting for the 9:30pm show to start at 11:00pm! We eventually staggered out of the theatre at 2:00am. Bear that, and our language issues in mind as we try and unravel Komaram Puli.

The crowd reaction was amazing. In the hour or so we were waiting, we had ample opportunity to perfect our Pawan Kalyan chants. The crowd favourite was “Twinkle twinkle little star, Pawan Kalyan Powerstar!”, and the roof almost came off before the film even started!

Not understanding Telugu wasn’t going to be an issue for this film, as there was no way we were going to be able to hear any of the star dialogues. The crowd started cheering, screaming, even crying, as soon as the credits began to roll and it didn’t stop. Some fans had carefully pre-cut strips of paper to hurl in the air at key moments, other more spontaneous types just tore up newspapers as the spirit moved them.

Now to the film.

The opening sequence is violent, shocking and full of portents. A woman goes to the police to try and find her husband or to follow up on his murder, and ends up being beaten half to death by Manoj Bajpai (who is the man who offed the husband). She escapes and through the blessings of god and the shelter of a local temple, her pregnancy comes to term. Her son learns to march on the path of righteousness while in the womb – and that is not an attempt at poetic license. Its an accurate description of the films visuals. He grows up to become:

A charismatic, dedicated and honest policeman – Komaram Puli –  who vows to take on crime and corruption. We never had a hope of getting all the detail of the very fast talking Puli’s dialoges but we believe it went something like “I swore an oath to serve my country and its people without fear or favor. Some of you are a disgrace to the uniform and could afford to shed a few kilos. Get your act together, sit up straight or I will take you down”. Or something. Anyway – he is a good cop struggling with a police force that is at best lazy, and at worst corrupt.  For all his talking he is a man of action – the opening action sequence featuring Pawan Kalyan and some excellent product placement is packed full of thrills and stunts that had the audience going wild.

Now, answer this question. You have a terrorist with a bomb strapped to his body. You can kill him by dropping him from a helicopter, shooting him or detonating the bomb. What to do? If you chose “all of the above”, you are going to love this film!

The installation of special phone booths allow people to call Puli’s team direct and report their law and order problems. On receipt of a phone call from the special “Bat Phone”, Puli and team leave their high tech HQ and seem to be able to arrive anywhere in Hyderabad within mere minutes – another tipoff that this is fiction, as we all read the endless tweets about celebs stuck in traffic in Hyderabad. They start to beat the corruption out of the force – literally.

In addition to this, Puli Force are on the trail of a terrorist master-mind called Nixon, and local crimelord Saleem, Manoj Bajpai back on the scene, this time in a distinguished grey wig and moustache.

Oh, and there is always time for romance. Especially when the girl is a crazy stalker with a theatrical streak and your mother approves of her. Puli never stood a chance once Nikesha Patel and her friends decided he was the one for her. Right down to the most bizarre marriage ceremony, he is railroaded by the women in his life, but its all for his own good.

Now that love has kindly provided a likely target for hostile forces, a romantic night at home is rudely interrupted by vampire ninjas in V for Vendetta masks. The outfits are never explained, but neither are many other things. Deal with it. We did.

The film has many heroic dialogues. Every time Pawan Kalyan brandished his index finger towards the camera, the audience went wild. We will never know what exactly his message was, but we are pretty sure no one else could hear it either.

Pawan Kalyan has an excellent enigmatic walk, which we believe is essential for all film heroes. He also excels in the high adrenalin action sequences, and looks totally convincing in these scenes. Sadly, he doesn’t seem to have inherited the dance gene that runs in his family. He does try, and in the “Powerstar” song he does come close. But perhaps we were blinded by the fabulous costume:

On the subject of costumes, we noticed on arrival at the cinema that all the boys in the ticket office were wearing the same style of red and black scarf. We did wonder, but not for long:

Now THAT is star power!

Unlike so many other filmi mothers, Saranya played an important role in the action. She was no passive victim standing on the sidelines and weeping for her boy. She delivered powerful and moving dialogues and was clearly the strength behind her son. And never, ever discount the power of a mother’s tear.

While overall we found this highly entertaining, the film does have serious flaws. The songs seem to be misplaced in the narrative and this gives the feeling that the film is disjointed. The climax is muddled by having two villains and apparently running out of a plot for one of them. The final confrontation between Puli and Saleem is very heavy on the dialogue and slows the conclusion of the film down. However, the final few frames are truly amazing and left the audience stunned (although still screaming).

This was our first taste of Powerstar Mania and it was just awesome. The screaming, cheering and applause never stopped right til the very end. Which, we will remind you, was at 2:00am. While we would give the film itself 3 and 1/2 stars, we give the audience 5 stars!