Sneham Kosam

K.S Ravikumar’s film gives us double the Chiranjeevi in an outstanding dual role performance, and about three times the plot of a normal film. There is a lot going on in this convoluted tale of family strife and the meaning of friendship. The last 20 or 30 minutes alone has enough revenge, melodrama, blood, sweat, and tears for any average film. Warning: some spoilers ahead.

Chinnayya (Chiranjeevi) is the valued servant of the landlord Peddayya (Vijayakumar). Chinnayya is bossy and dramatic, as is the landlord. They have a warm relationship and the other servants enjoy their regular tiffs. Peddayya has cut off his daughter Gowri (Sithara) and son-in-law Peddabbayi (Prakash Raj) although it’s clear Gowri wants to reconcile and she tries over and over. When his youngest daughter Prabhavati (Meena) comes home, she also wants the family reunited but she has a different method in mind. She sets her cap at Chinnayya, and sets him up for an accusation of rape. Having kicked him out of the house her true feelings become clear. She blames him for the separation of her father and sister, and cannot stand to see him living comfortably in a home he ruined. And then Simhadri (also Chiru) returns after doing time for killing Prabha’s mother. Peddayya is delighted to see his old friend, the servants seem cautiously accepting, but both Chinnayya and the girls furiously reject him.

I love Chiranjeevi’s acting in both roles but I really do not like the decision making in this film. I don’t think there is a single significant life choice made that didn’t have me muttering “oh come on, you’ve got to be kidding”. Anyway, back to the plot. Simhadri took the blame for Lakshmi’s murder so as not to make Gowri the wife of a murderer. Because it is better to be married to a murderous weasel than it is to be divorced, widowed, or single? Eventually justice must be served and it is, in spades.

The Megastar stamp is all over the opening credits, but Chiru is in actor mode and delivers excellent characterisation as well as buckets of tears and adrenalin.

Chinnayya is a more typical hero role for him, and he breezes through the fights, the dances, and all the shenanigans. But there are emotional currents that run deep, and when Chinnayya confronts Prabha over her scheme to ruin him, Chiranjeevi blazes with fury.

Simhadri is both intensely lovable and kind of infuriating. He sacrifices everything for his landlord boss, everything, but never shows anger or resentment. I believed absolutely that Simhadri would do anything for his beloved friend and boss, but I didn’t need so much of the “he is our god-like benefactor, we’re nothing without him” hand-wringing over the master servant relationship. Regardless, Simhadri is such a vivid and quietly commanding presence. His feeling of guilt and responsibility was misplaced but achingly raw, and those Mega Eyes conveyed volumes. The scene where he had to sneak a glance at Chinnayya via a mirror just to see his son’s face could have been ridiculous but it works because of Chiranjeevi. I liked Chiranjeevi’s use of similar but subtly altered mannerisms and posture to convey both the resemblance and the differences. Chiru’s expression is softer and more world-weary as the father, and while Chinnayya is a chip off the old block he doesn’t have quite the same substance. And when you get Chiru emoting at Chiru, it’s just too too good.

While this is Chiranjeevi’s film, I liked that other characters were given some depth and development. Prabhavati is a bit of a nutter, and has minimal self-control when it comes to getting what she wants. She wants it NOW. Meena is screechy at times but when she needs to command attention, she does it despite all the macho chest beating going on around her. I found Prabhavati too neurotic and impulsive to be relatable but I felt the conviction in the performance. Her teary declaration that since she had no mother she wanted to be her sister’s daughter was both moving and mind-boggling. Her duplicity was breath-taking and audacious in execution. She was no passive victim, although she had been sadly misled. Meena’s rapport with Chiranjeevi was patchy but that was befitting this half fake half real love hate thing going on. They were a good match in terms of energy and commitment to the role, both in the fun scenes and the more intense moments.

And while I don’t concur with the sentiment that a man with laser eyes who can make another man’s head explode into flames is necessarily ideal husband material, her imagination was fertile and that can help a girl through some bad times.

Sithara starts out as a wet rag, crying all over the place, but in the flashbacks and the post revelation scenes she gives Gowri some spirit. Poor Gowri got a raw deal on pretty much everything. Her husband was a rat, her father disowned her for no good reason other than the rat, and she had no idea of the truth. But I liked that she kept trying to mend fences, even though she couldn’t work out what was really wrong. She was persistent and resilient. And finally, she chose doing the right thing over supporting her husband.

Vijayakumar as Peddayya is the other pillar of the drama. His petulance and dramatic flouncing is tempered by the respect and loyalty he shows his friend Simhadri and the boy Chinnayya. He genuinely treats Simhadri as a mate, scandalising his servant with hospitality and unselfconscious affection. There is not a lot of subtlety in the drama but Vijayakumar draws out some strong emotion, especially in his scenes with Chiru and with Sithara. I just couldn’t get past his willingness to let Simhadri take the fall, and also to lie to his daughter and then disown her partly because of that lie.

But his character solved most disputes with Simhadri with a song and a tickle fight so he’s not all bad.

Prakash Raj is so slimy and craven, I was itching to slap him and frequently booed as he weaselled his way around. He gives a great performance as a horrible person. Peddabbayi prefers to wheedle his way out of trouble but if that doesn’t work he flies into a rage. I’m glad they cast a good character actor in this role as if they’d gone for a comedy uncle villain, it would have sapped a lot of the energy from the quite exhausting climax.

The support cast is loaded up with comedy uncles but they are low key and their characters serve some purpose. Brahmanandam is effective as Prakash Raj’s nasty sidekick with minimal gratuitous comedy uncle shtick. MS Narayana, Babu Mohan, and Kota Srinivasa Rao are among the more heavily featured household staff and like Brahmi, are comparatively restrained. Nirmalamma is cheeky as Simhadri’s gambler mother. Sujatha makes an impression in her few scenes as the much loved and lamented Lakshmi. And poor whatsisname who played Chinnababu made it seem he may have taken after his older brother but was actually a decent boy, left devastated and jilted at the altar.

The film looks beautiful, and the few special effects are used wisely. And I think they employed all the camels in Rajasthan for one day. While it probably could do with a more assertive edit, I really enjoy almost every moment of the film. Unless I get too riled up about Simhadri assuring Gowri’s marriage to a homicidal mongrel and her father’s 15 year temper tantrum.

The Hindi dub is on YouTube with English subs, or you can do what I do and grab those subs for your Telugu copy and tinker with the timing because hearing another voice coming out of Chiru’s face is All Wrong. 4 ½ stars! (A tiny deduction for terrible decision making, and for the director’s cheesy guest appearance, another dodgy decision.)

Singham II (2013)

Singham IIDespite the promise of subtitles, Singham II turned out to be another ‘adventure without subtitles’ in Melbourne.  Possibly not such a bad thing as there was so much happening on-screen, I’m not sure that I would have had time to read them anyway.  However, director Hari keeps the basic plot the same with a dedicated cop determined to clean up Tamil Nadu and a number of characters from the original Singham reprise their roles.  The addition of Santhanam, Hansika and Mukesh Rishi among many others to the cast mainly adds more mayhem into an already packed storyline but although there is an apparently limitless cast of characters, it’s still Suriya’s movie all the way.  Singham II is relentless, overlong and frequently over dramatic but there are some excellent fight scenes and Durai Singham’s determination and energy help keep the film from dragging.

Singham IISingham II

 

 

 

 

 

There is a quick run through the significant moments of the first film, reminding us that Durai Singham (Suriya) had resigned his position and under the aegis of the Home Minister (Vijayakumar) was heading off undercover to Tutricorn charged with investigating arms smugglers in the area.  So after a run-of-the-mill item song with Anjali, the film starts with Durai Singham working as some sort of an instructor in a local school.  I’m not exactly sure what his role was but it seemed to involve students and a lot of marching but not much else, which at least gives Singham time to pursue his undercover mission.  He also indulges in a little investigation when one of the students breaks in to look at exam papers early.  It’s the first time I’ve ever seen a contact lens used as forensic evidence in a film and I really hope I see it again as I never realised you could learn so much from a discarded lens!

Meanwhile at night, Singham is scouring the shore looking for smugglers.  But since the local police seem to be in cahoots with the gangs he doesn’t have much success.  I was happy to see one of my favourite bad guys Rajendran pop up, especially since he spends most of his time manically unloading illegal goods from a ship and then hurriedly reloading it all again when he’s tipped off about the possible police presence.  He’s funny and yet still menacing, and employs a fighting style which seems to be all elbows and knees but is still surprisingly effective.

Singham IISingham IISingham II

 

 

 

 

 

 

 

Kavya (Anushka) is still chasing after Singham and trying to organise their wedding which seems to have stalled since he gave up his role as a police officer.  However apart from appearing in the songs she doesn’t have much to do and trying to fit her into the storyline makes the film even longer.  Another unnecessary addition is Hansika as Sathya, a school student who is in love with Duria Singham.  Sathya stalks Singham, which could have been an interesting role reversal, but there never seems to be any point to her unrequited love.  Even her connection with one of the villains of the story isn’t played on to any great extent until near the end, although that could just be because I didn’t understand the dialogue.  Although Hansika looks much too old to be a school student, she is much better than usual and plays her role with restraint, but her character just doesn’t add anything to the story.

As if two romances and all the action wasn’t enough, Hari also adds in a number of comedy tracks featuring Santhanam and Vivek.  I found Vivek annoying in the first Singham, but he is more restrained here and doesn’t have as much screen time which makes him slightly more bearable. He’s also more of a genuine character with most of the one-liners seemingly given over to Santhanam who at least is very funny (even without understanding the dialogue) as the school caretaker Sussa.

Singham II

One of the main problems with Singham II is the sheer number of villains that Hari throws at his hero.  Bhai (Mukesh Rishi) is a smuggler and drug dealer who has a gang of accomplices that Singham has to wade his way through before he can get to the top man.  Similarly Thangaraj (Rahman) is a more sophisticated smuggler who uses his shipping company as a front but also has his own gang of thugs who need to be dealt with.   And finally there is their supplier Danny (Danny Sapani), an international drug dealer who spends most of his time sailing around the Indian Ocean indulging in various forms of vice.  This included killing a police man who was supposedly Australian but the dubbed accent was so bad that I didn’t even realise the actor was supposed to be speaking English!

Singham IISingham II

 

 

 

 

 

The inclusion of so many antagonists means that there are seemingly endless fights against different groups of thugs and never-ending schemes and counter schemes to deal with the gang leaders.  While Bhia, Thangaraj or Danny by themselves would have been effective enough, with all three the threads become entangled and the plot starts to get both confusing and repetitive. The comedy and romance even comes as a bit of relief from all the action!  The fight scenes though are well choreographed by Anal Arasu, with the best being also the most nonsensical when Singham throws away his gun in order to fight unarmed in the rain outside his parents’ house. It’s pretty stupid, but great fun!

Singham II

There isn’t too much ‘angry Singham’ in the first half, but after he puts his uniform back on, Singham gets progressively more and more enraged as he systematically sets up and destroys each of the gang leaders and their various minions.  It’s not as effective as in the first film because there isn’t the mutually antagonistic relationship between Singham and Prakash Raj’s Mayil Vaaganam which made their vitriolic exchanges so fiery.  However Suriya is still convincing and carries the film despite the long and overburdened storyline.  He does have good chemistry with Anushka and both look great together in the songs.  Although the music (Devi Sri Prasad) isn’t memorable, the choreography seems better than in the last few Suriya films and his dancing is excellent.

'Angry Singham'

There is just so much of everything in this movie and it does get rather wearing   Fewer villains and a harsher hand with the editing would make it much better but it’s still worth watching for Suriya, better than usual choreography and plenty of excellent fight scenes.