Tag Archives: Tollywood

Anand (2004)

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If there is such a thing as a good kind of stalking love story, Anand is probably it. Sekhar Kammula builds characters that have quirks and flaws, and his effort translates into an engaging modern romance. Although the film is called Anand, it’s actually well balanced between Anand (Raja) and Rupa (Kamalinee Mukherjee), at least in the director’s cut version.

Rupa is orphaned after a drunk driver hits her family’s car. Forward 8 years and Rupa (now played by Kamalinee) is a bit of a control freak, and preparing for her wedding to Rahul (often heard but not seen playback singer, Anuj Gurwara). His family are wealthy and traditional, and she is under pressure to modify her behaviour to suit them. She is scared of her future but trusts to god and her own spirit to help her through the challenges she expects lie ahead.

Rupa has pride and a belief that she deserves love and a good future. When Rahul reveals his weakness in the face of family disapproval, she realises she may be making a mistake. Finally, after a showdown with the domineering mother-in-law to be over wearing her mother’s heirloom saree, Rupa calls the wedding off.

I like that there are consequences, but it’s not over the top. Her life goes on, and while there is some embarrassment and explaining, her friends are all there for her, as is her old job. She supports herself financially, and seems to have a good life. It makes a refreshing change from all the filmi orphans living Cinderella type lives on charity from relatives.

The drunk driver is a presence throughout the film, although Rupa doesn’t know this. The shock of causing the accident made Gopalan (played by Gururaj – I think) revert to a childlike state. Initially I had some reservations about whether he was a necessary character, and how his condition would be portrayed. However, I enjoyed his presence and I give due credit to Gururaj for his performance.

Gopalan is loved by his family, and included in all their activities. He isn’t swept into a corner, and no one distances themselves from this damaged man. It was sweet seeing the family in conference, with Gopalan doing that Dad thing of dozing in front of the TV while Anand and his mum argued. They all know what happened, and Anand even describes it as an oddly positive change – a driven man finally happy with simplicity. It isn’t quite as syrupy as that sounds. I really liked the decision to show a content middle-class family who had achieved comfort in their lives at this point.

Anand (Raja) sees Rupa and decides he wants to get to know the real person. He knows her history (she doesn’t know he knows) and while he has sympathy for her, that isn’t his primary motivation. His mother is keen to marry him off, and Anand is tired of the marriage treadmill. He knows he is eligible and doesn’t trust first impressions, and he isn’t really keen on settling down unless he feels he has met his life partner. When he sees Rupa breaking her wedding off, he is intrigued as well as attracted to her. He concocts a story, rents a spare room at her house, and starts to work on getting to know her. He isn’t sure what he feels for Rupa, and he knows there is more to a relationship than just chemistry, so I think the decision to spend some time with her was wise but the method is questionable.

It is a kind of stalking, he does conceal his identity from her, and he manipulates circumstances where possible. It didn’t totally put me off because he is aware of his intrusion into Rupa’s life and he is open about his motives when her friends challenge him. And he can take ‘no’ for an answer. Raja is very much part of an ensemble, not a dominant hero type. He has a pleasant enough boy next door style but wasn’t outstanding.

Better known for directing than acting, Anish Kuruvilla is Anand’s cousin Raju. He is the voice of reason and logic, so of course no one ever listens to him. He supports Anand despite his misgivings, and has an excellent array of pained expressions. Raju is also a colossal snob, and this allows Kammula to introduce some points around discrimination and entitlement. It’s a funny, likeable performance despite the occasionally irritating character. Really, since he seems determined to avoid directing another film in my lifetime (hint Anish, HINT) I don’t see why he doesn’t act more.

Satya Krishnan as best friend Anita has a slightly acerbic yet affectionate nature, and her down to earth comments add a realistic level of dissent and question to the dialogues.

She and Raju have the job of watching their friends fumble with the burgeoning relationship, and their wry observations often deflate the drama or add a dash of humour. I liked the film in-joke when Anita has an Indra flashback and asks Raju if he has ever been in movies. She and Kamalinee took the acting honours in my book. And I love her husky voice – such a nice change from all the super squeaky heroines!

Rahul reappears on the scene, and Rupa and Anand are torn from their comfortable little routine. Rupa finally admits to herself that she loves Anand, but what to do? Anand leaves the next steps up to her.  I like the resolution. I felt it suited Rupa’s character completely and I appreciated that Anand hadn’t gone bitter and started hating her. He accepted that her decision and opinions were valid and essential to any possible future together.

Anand’s family acknowledge a sense of obligation to Rupa, and want to help her secure her future, but there is also trepidation at how they could live together after the truth comes out. It’s a very filmi situation but the emotions feel real – how will that sense of indebtedness balance the anger and resentment, and is forgiveness truly possible? I think Rupa blames herself so much for the accident that she had never considered blaming anyone else until confronted with the man responsible. Having to come face to face with the truth sparked another stage of grieving and she had to forgive herself as well as Gopalan. Kamalinee was convincing in her grief, and rather than loud histrionics she used her physical expression to show the transformation.

I like the realistic touches in the background detail. Rupa has a kitchen with packets of cereal and jars on the shelves, she gardens and washes her own clothes. People use public transport and their idea of a big night out is going to the movies. The house that Rupa lives in is located in an oasis like compound, but it looks a little ramshackle. There are people who fail exams and still have a happy enough life, and people with high aspirations. It’s all very easy to relate to.

I have a few dislikes. There are horrible cutesy kids and I could have done without them. Their performances were fine it’s just a directorial choice I disagree with. And the background soundtrack is a bit too whimsical for my liking. The songs by K.M. Radha Krishnan are great, and are a little classically influenced so it’s quite a contrast to the cheesy background score. I really like Shreya Ghoshal so her singing is a bonus. There is little dancing, although I see in Wiki Sekhar Kammula gets a credit for choreography.

As  modern film romances I prefer Avakai Biryani and Godavari to Anand, although that may be a bit of rural romanticism on my part as the locations were nicer. But I liked seeing a smart woman in control of her own life as a heroine,  people I could relate to, and the non-preachy social observations. 3 and 1/2 stars!

Heather says: There are a lot of things I really like about this film. Sekhar Kammula has the knack of telling a simple story in a very realistic way with genuine characters. And although the story is simple, there is enough complexity in the way it is told to keep it interesting and fresh. The characters are all down to earth and act in very believable and normal ways to the different situations throughout the film. Rupa does have a tendency towards melodrama but I think that is just part of her character and since I have quite a few friends who behave similarly (it must be all the Bollywood we watch!) I found her over-reactions to be just another facet of her personality. And I think a bride approaching her wedding day is entitled to a little drama anyway. There are a lot of little touches in the film which are very simple but help to convey an idea of the various personalities. Rupa’s regular morning coffee and Anita’s morning runs give us insights into their character and their lives seem very typical of the average person. I think Kamalinee Mukherjee is excellent at showing Rupa to be a strong minded and compassionate woman who has some issues due to her past, but is determined to make her own way in the world. I also really like Anita’s character, and think that Satya Krishnan is very good in this role. Her visualisation of a scene from Indra when Anand’s cousin is talking to her was excellent, and I can really understand exactly what she is thinking as a result.

What I don’t like as much was the character of Anand. Although Raja is perfectly fine in his portrayal of the character, I just don’t warm to Anand at all. He seems selfish and lazy and I can’t see why Rupa would want to get involved with him having just broken up with another selfish and lazy man. Anand relies too much on his cousin to help him out whenever he needs something done, and although his interaction with Samatha and Anita is good, it’s just not enough to make me like his character. I do like Anand’s speech to his Raju though, where he seems to realise that he hasn’t actually ‘fallen in love at first sight’ but that it’s more of an attraction. So it seems much more realistic when he says that first of all he has to get to know Rupa and she has to get to know him, and then they will see where it leads. This is a more reasonable approach than many other films where the boy declares his love and then stalks and harasses the girl until she agrees to marry him. And although I didn’t particularly like Anand his character was well developed and his relationship with Rupa was well portrayed.

The other support characters are all good and Rahul’s mother in particular seems to relish her role as the evil mother in law to be. Rahul’s character is well developed and the portrayal by Anuj Guwara was spot on. I agree withTemplethat it was lovely to see AnishKuruvilla on the other side of the camera and he was excellent as Raju. He really did have some of the best expressions.

The film has a great soundtrack and I do really like all of the female characters. It’s an enjoyable story with some lovely performances, but I just would have liked Anand’s character to be a nicer person.  3 ½ stars from me.

A Mega Birthday Celebration

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It will be Chiranjeevi’s birthday on 22 August.

To celebrate another year of the Megastar, several bloggers will be posting thoughts on the man, the movies, the legend, the lycra, the one and only Chiranjeevi. 149 films and countless spectacular dances – there is something for everyone in the mega-oeuvre.

The plan is to publish items between 22 – 31 August so you have heaps of time to work your way through the filmography. I am happy to collate and publish the links so please let me know if you want to join us and I’ll make sure your links are added.

The hashtag for Twitter is #Megabirthday2011

So far, these fab blogs are up for Mega festivities :

The more the merrier!

Narthanasala

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This 1963 classic has an exceptional cast, featuring NTR, Savitri and SV Ranga Rao, under the lively direction of Kamalakara Kameshwara Rao. Narthanasala renders a chapter of the Mahabharata in an accessible and highly entertaining style. The story as shown concentrates on the Pandavas efforts to serve out the 13th year of their exile, and how they deal with their tribulations. I’m sure there are many versions of this tale and this screenplay no doubt varies from those in some ways. My knowledge of the Mahabharata is basic, but all the information you need to know to enjoy Narthanasala is contained within the film, so don’t let that be an obstacle.

Arjuna is honoured by Indra, but manages to tick off Urvashi (Padmini Priyadarshini) when he rejects her advances.  She curses him to become a eunuch. I cannot blame her for being mislead after watching him watching her in this dance:

And she looks furious!

The curse is mitigated somewhat by a time limitation granted in recognition of Arjuna’s essential manly goodness. This coincides with the 13th year of exile when the Pandavas must take refuge in a kingdom and remain anonymous for that final year. The set up of the characters and how they would conceal their identities was simply done in a conversation that pretty much spells out who’s who. There are spies and lures set to draw the Pandavas into the open, and the cat and mouse game with Duryodhana adds an edge of tension to the waiting game.

Dharmaraju (Mikkilineni Radhakrishna Murthy) is occupied as an advisor to King Viraat, and has little free time to spend with his brothers and wife.  The twins Nakula and Sahadeva work with the livestock and are absent most of the time. This leaves Draupadi (Savitri), Arjuna (NTR) and Bhima (Olympic wrestler Dandamudi Rajagopal) on centre stage.

Draupadi is beautiful and deceptively delicate looking. Her husbands make a big deal of her having to undertake manual labour, but she is more resilient than they are in some respects. Although usually deferential to her husbands, when she needs to stand up for herself she leaves no doubt as to the consequences of drawing her anger.  Calling herself Malini she goes to work as a ladies maid and beautician for Queen Sudheshna (Sandhya). She pleads with the queen that she be protected from tasks such as being sent off to entertain strange men and serve in other households, and Sudheshna agrees. Draupadi’s awareness of her vulnerability is clear, and despite her efforts she does attract unwanted attention.

How she attempts to deflect and ultimately stop this harassment is the main focus of the drama, and she tries many approaches before demanding her husbands step in. Krishna intervenes when called upon, but the solution lies with the human characters. Draupadi’s affection for Arjuna gives their complex life a strong emotional core, and their scenes had an element of romance that her interactions with the other husbands didn’t. She has a rare laugh when talking to him about their son. Savitri is, as I have come to expect, excellent in a role that demands both high emotion and restraint.

Arjuna is transformed into Bruhannala. He takes up the position as dance teacher to Uttara (L Vijayalakshmi) and embraces accessorising. He should have had those dance lessons as while Bruhannala’s expressions are flawless, his dance steps are not quite as graceful.

NTR looked knowing and effeminate as the eunuch, always slyly amused at fooling everyone around him. It falls to him to come up with the scheme to keep Draupadi from harm and to keep the Pandavas safe until the end of their exile.

The stolen conversations between him and Draupadi have an undertone of longing. When they touch there is chemistry; Arjuna, the husband missing his wife, is suddenly visible despite the fripperies of Bruhannala. When NTR re-appears as Arjuna he is quite regal although maintains the air of amusement. His scenes with Uttarakumar in the chariot are fun and he enjoys the consternation caused by his transition from Bruhannala back to Arjuna. It’s a warm, appealing performance, and the knowing looks to camera drew me into the asides and secrets.

Arjuna is more philosophical about Draupadi’s situation and is prepared to manage each crisis as it happens. Bhima cannot contain his fury; he just wants to tear Keechaka apart.

He knows his own flaws and is guided by the more calculating Arjuna and Dharmaraju’s sense of justice. His powerful physique is an asset to the family but may also be the thing that gives them away. There wasn’t a lot of subtlety needed for this performance, but it wasn’t just posturing and roaring.

SV Ranga Rao is Keechaka, the queen’s larger than life brother, a jovial bully. His inability to control his lust does more than threaten Draupadi. It also jeopardises the safety of all the Pandavas who may not maintain their disguises under such insult, and threatens the kingdom as he forces the queen to give Malini over to him. He is literally blinded by desire.

How else could he mistake Bhima for Draupadi? His performance is excellent as he manages to be likeable and hateful. I was cheering when he got his just deserts.

Relangi Venkata Ramaiah (a.k.a the ‘Clap Your Hands Behind Your Back guy’ from Mayabazar) is lots of fun as the pompous, cowardly but endearing Uttarakumar. He has delusions of being a great warrior and leader, and his preening and posturing amuses me as much as it does the Pandavas. He is followed around by his attendants, one of whom is Allu Ramalingaiah with perfect but unobtrusive comic timing. Uttarakumar is nice to his sister, and never gets angry or mean with the cooks despite their unfortunate comedic tendencies, so I like him.

L Vijayalakshmi is perfect as his sister Uttara. I really enjoy watching her dance and she has a sprightly, flirty, quality that enhances the role. She and Abhimanyu have a romantic subplot but really her purpose seems to be dancing and being decorative. This is only the third film I have seen her in, and I hope to find a few more.

The songs (original music by Susarla Dakshinamurthi) blend into the story and I wish they had been subtitled, as often they are used for exposition or introductions. The dancing is lovely, and the sets and costumes are opulent.  The decorations are extravagant and yet allow the performers to be the focal point. It’s also a ripping good story, and the pace of the direction matches the tempo of the drama to perfection. It’s just gorgeous.

4 ½ stars! (a small deduction for too many squeaky comedy cooks in the kitchen)

Heather says: Narthanasala is just delightful to watch. The film’s all star cast are excellent and the sets and costumes are fabulous. Since I’m not very sure about all the characters in this part of the Mahabharata, I really appreciate the opening scenes where everyone introduces themselves and explains who they are, the alias they are going to assume and what they are going to do for their time in exile. Very helpful.

The stand out performance for me is by NTR. He is excellent as Arjuna in the film’s opening scenes and his transformation into the eunuch dancing teacher Bruhannala is brilliant. It’s not just the delivery of his lines or his posture, but his whole demeanour which changes, and he is wonderfully feminine. He also has the best costumes and totally awesome eyelashes! This looked like such a fun role to play and NTR had the right amount of playfulness and hauteur to make it work.

Savitri is as beautiful as ever although I was a little confused about her character as Malini. Since they were supposed to be in hiding it seemed rather odd that she would say that she had 5 husbands and needed shelter for a year. Surely that gave the game away as to who she really was? It didn’t seem to be a requirement of their exile since none of the other characters seemed to reveal quite as much about their identity. However, I only have a very limited knowledge of the Mahabharata, so this could just be an essential part of the original. The film drags a little in the middle while waiting for Draupadi’s rescue from the funeral pyre, but the previous scene with Bhima in drag pretending to be Malini was excellent. Dandamudi Rajagopal is very good in his portrayal of Bhima/Valala and as a professional wrestler he certainly looks the part. Unlike Temple, I love the minions in his kitchen who I think are really very funny, always fighting and squabbling and behaving more like troublesome children. The comedy with Uttarakumar is very well done as well, in particular the scenes with Arjuna when he goes out to fight the Kauravas

The dancing is lovely and although the fight scenes were quite stylised they are enjoyable to watch. I loved this line from the battle between the Kauravas and Arjuna towards the end “He greets the elders with his arrows. That is what makes him so adorable!” And NTR was! I really enjoyed this film – 4 ½ stars.