Movie Review – Mirchi (Telugu) – A SPICY bag of borrowings!!

Spot the difference in Mirchi Top 10

1. Shankam: The movie opens with a love story in Australia and the smoke trail leads you to Rayalaseema.

Mirchi: The movie opens with a love story in Italy and the smoke trail leads you to Palanadu in AP.

2. Darling: Hero gets a musical introduction as the member of a band.

Mirchi: Hero gets a musical introduction as the member of a band.

3. Ready / Bindaas / Brundavanam / Jayeebhava / Shankam / Dammu and many more: Hero lives with heroine’s family to gain her family’s confidence and change them with a magical mantra called love.

Mirchi: Hero lives with heroine’s family to gain her family’s confidence and change them with a magical mantra called love.

4. Student No. 1: Hero to focus on studies shows the trouble-monger villain the path of love.

Mirchi: Hero to gain entry to a place shows the trouble-monger villain the path of love.

5. Dhada: A pre-visualized fight sequence with a timer to bash the goons.

Mirchi: A pre-visualized fight sequence with a timer to bash the goons.

P.S. Both are ripped off from Guy Ritchie’s Sherlock Holmes.

6. Hum Tum (Hindi): Despite his busy work, the hero assists his mother who is a wedding planner.

Mirchi: Despite his busy work, the hero assists his mother who is a wedding planner.

7. Brundavanam: In the climax, the hero is beaten to pulp, but like a phoenix he rises from ashes when there is a trouble for his loved one. *Suspension of Disbelief*

Mirchi: In the climax, the hero is beaten to pulp, but like a phoenix he rises from ashes when there is a trouble for his loved one. *Suspension of Disbelief*

8. Brundavanam and loads of other Tolly flicks: One heroine is a city lass and the other one is a village belle.

Mirchi: One heroine is a city lass and the other one is a village belle. Here I leave it to the audience’s intellect as who finally gets tagged with the hero.

9. Rebel and myriad films of this land: After a magnanimous fight sequence to save his family, the hero is ostracized by his father for putting up such a great show (for hero) / dismal performance (for father). As a reward, the hero accepts this with a smile.

Mirchi: After a magnanimous fight sequence to save his family, the hero is ostracized by his father for putting up such a great show (for hero) / dismal performance (for father). As a reward, the hero accepts this with a smile.

10. Most of the Telugu films: A chewing gum-ish flashback in the second half.

Mirchi: A chewing gum-ish flashback in the second half.

Question Time: Most of the Tollywood films that find comfort in formulaic stories are HITs.

Mirchi: ___________________________________ ???

High-Liers: The dude-ish Prabhas, beautiful Anushka, exotic locales, crisp dialogue, striking camerawork, DSP’s BGMs and Idhedo Baagunde song.

Low-Liers: Routine routine routine routine routine ‘chintakaaya pacchadi’ story and screenplay.

Bottom-line: Cinema choosthe poyedemundi dude… Maha ante Rs 55 / Rs 150 bokka anthe!!

My Rating: Expectation – 7/10; Reality – 4/10

Movie Review – Kadali (Telugu) / Kadal (Tamil) – Old story with new actors!!

“There are two things that bother a film-maker. One, when he is offered a lifetime achievement award. The second is when he is asked to do a book on his films. Both invariably mean that the sell-by date is round the corner, or worse, that it has passed” said Mani Ratnam in the book Conversations with Mani Ratnam written by Baradwaj Rangan.  There he missed a crucial point that audience acceptance also plays a vital role in deciding the shelf-life of a director. Back in 80s, there was storm which created furore in the film fraternity with its subjects on social-awakening. They called it “visionary” and the world knows it by the name Mani Ratnam. At the turn of the century, this storm subsided after giving Sakhi (Alaipayuthey in Tamil) and then Amrutha (Kannathil Muthamittal in Tamil). Kadali (Kadal in Tamil) marks the downhill trajectory of a creative genius who doesn’t get content hitting a nail after nail in his coffin with every new film he makes.

Kadali has some traces / characters of Ryan's Daughter, a 1970 film directed by the legendary David Lean, which in turn was a very loose adaptation of Gustave Flaubert's novel Madame Bovary. Kadali’s story revolves around few good people (The Gods) and few bad people (The Satans) and as every other film it ends with the good winning over evil. The path between the start and the finish line is filled with silly, traumatic, incorrigible, sleeping-around, and penurious people with a vacillating faith in God. Every person has a good or an evil tag attached to them and they are underscored with white (for good) and shades of grey (for evil). This practice goes overboard and the overdose of grey submerges an inkling of white in the film. Almost like the vintage films you can see either good or bad, or an ignorant bunch people who play a deaf ear to all the jazz about God.

Let’s stay where we are, and delve in to the character that switched sides from good to bad and then back to good so effortlessly. All this for the sake of a girl who came like a flash and changed everything with her little on-screen presence. She is referred as an angel – who doesn’t understand what paapam is - and as a catalyst for change. Isn’t it too biblical and too run-on-the-mill? You wonder all it took to reform a man was fair skin, cherubic smile, white clothes, and a marginal dolt. This is one of the clichés that bolsters Kadali and tries to instill faith in God.  In a society that’s replete with bad elements the onus is on the individual to unearth good and embrace it. This concept is hammered on to the audience with a gospel touch by making symbolic references to the God, the Satan, the Angel and the Sheep. On one side, the film blends religion into every subtle nuance – a decent effort – but at times it reinforces that religion is the genesis of all the difficulties.

The entire weight of the movie is taken by two extreme poles of performances – Arjun and Arvind Swamy. Both outdo each other in their roles, but it’s so frustrating to see the brilliance of the former and the calmness of the latter completely wasted by bungled up writing. Gautham Karthik is a bagful of surprises and shows poise in his variegated character. Thulasi Nair is nothing but a canonized Hasini from the Telugu film Bommarillu. Her bubbly and buoyant nature is rooted to her childhood and the loss of emotional growth or something to that effect. She is not the Mani Ratnam material and a bad pick by the director. Manchu Lakshmi shines in her brief role. The supporting cast is near perfect and sync into the ambience of the fishermen hamlet – an impeccable set design by Shashidhar Adapa.

A R Rahman tried to pull off another masterpiece but few good songs faced a sudden death due to their improper placement. The flagship song Gunjukunna (Nenjukulle in Tamil) has been grossly wasted. You make your mood to enjoy it but it comes and goes in a jiffy leaving no time to settle. ARR with his BGMs created the right aura for the scene in which actors thrived to bring out the right emotion. His music punctuated the narrative and elevated every scene consistently but again the shoddy screenplay left all of it in lurch. Albeit classy, Sreekar Prasad’s editing went haywire in certain areas and the transition from one scene to another raised many doubts - What happened to the lip-lock scene shown in the trailer?? Rajiv Menon with his cinematographic excellence left no stone unturned in uplifting the cinematic brilliance of the film. The visual panache forms an integral part of the film and is one of its saving graces. The way he canned the thundering storm in the climax calls for a thundering applause.

Bottom-line: Kadali is not a great work of Mani Ratnam. As a fanboy you may try to pull all the strings in the film to praise Mani sir, but for others it’s a lackluster ensemble. This predictable film reigns high on its visuals, music, and some power-packed performances, but again these poorly written characters have nothing exciting to say and are forcefully pushed into poorly written scenarios. For such a movie, the characters needed more depth and they lacked it. There are some trademark Mani Ratnam scenes but they won’t come to rescue this sinking ship. All good things come to an end and for few good moments in the film you have to pay a heavy price of boredom. When the writer and director fail to SEE DEEP into the emotion in narration, the film will be in DEEP SEA. That sums up everything and also justifies the title – Kadali.

My advice to all aspiring film-makers: Watch it if you are in support of a spirited failure rather than a passable success, and learn how to avoid all the classic mistakes committed by classic film-makers. I am dejected, devastated and disappointed after watching this film, and I want to thank Mani Ratnam for deceiving me by offering a wet firecracker. Now, I have to watch Nayakudu, or Geetanjali, or Dalapathi to cleanse off this cardinal sin!!

My Rating: Expectation – 9/10; Reality – 5/10

Movie Review – Vishwaroopam (Telugu) – Indian made Hollywood-ish thriller!!

Just imagine a valiant effort of pumping in Rs 95 crores in an unconventional film. Adding to that is charting uncharted terrain by trying to release it though new avenues – DTH. That’s already given a truckload of goose bumps, so now hold your breath and make way to the creative genius whose middle name is “audacity.” That’s universal actor Kamal Haasan for you, and with Vishwaroopam he’s also taken the baton of direction. The saddening part is that the DTH experiment to safeguard his investments didn’t see the light of day and adding an insult to the injury came in the allegations which stalled the movie’s release in some areas. Kamal, with his indefatigable spirit and nerves of steel, is trying to stem the tide and keep the ball rolling. Here comes a coming of age film from a man who believes in walking against the grain.

Vishwaroopam starts with the story of an Indian settled in United States along with his wife. A volley of events forces them into dire situations and from there different layers of the story are peeled off with precision. One after the other the film springs many surprises and it’s an arduous task to fix the focus on one plot or sub-plot. Kamal with his writing finesse takes the audience’s intelligence to another level and throws enough fodder to connect the dots. With this film Kamal took the road less traveled and avoided a tried and tested story line, thus making it for a unique storytelling in recent times.

When Kamal takes up a challenging role, he works on it with utmost care to bring in all the elements of method acting. In Vishwaroopam he puts in an exemplary performance by unleashing myriad hues of his acting prowess as the movie progressed. Needless to say that Kamal shines equally in the role of a writer - director, and at one point the audience becomes ambivalent in deciding who takes all the glory – the actor or the director. Here all the three complement each other and his in-depth research and analysis of international terrorism is laudable. The locales and the characters chosen by “Mr. Perfectionist” say it all.

Kamal Haasan's craft in execution is akin to the likes of Brian De Palma (director of Scarface, The Untouchables, Mission Impossible), Michael Mann (director of Heat, The Insider). The characters were very well carved and their movement in the narrative reminds you of Hollywood style of film-making. Kamal’s mastery in character elevation and the slow transition across the multiple phases of the film makes the film more gripping. The breath-taking action sequences calls for a thundering applause.  Sanu Verghese with his adept use of camera steals some brownie points. The camera work supports the story line fully with suitable lighting and color sense. The excessive use of wide angles to shoot the menacing streets of New York and the rustic mountains of Afghanistan takes cinematography to a different altitude. Mahesh Narayanan’s editing is slick and the way he merged all the back stories into a seamless narrative is commendable.

A fair amount of credit goes to the sound design. As this movie is the first Indian film to use Auro-3D sound technology, everyone expected an out-of-the-world auditory experience. Kamal gave a giant canvas to the sound design team and they capitalized on it. But more was expected from them apart from the helicopter sounds in the 90 degree channel. In parts, their work was impeccable but most of the times there wasn’t a decent 3D experience. The songs composed by Shankar-Ehsaan-Loy could be the pivotal element that separates this from a Hollywood flick. The songs gelled in the narrative and no inane attempt was made to induce unwanted songs and item numbers. The main song garnishes the film with a vital seasoning which helps to recount one character of Kamal Haasan easily and effectively. The most endearing moment of the film is the intro song – a melodious Kathak dance number Undalenandhi choreographed by Pandit Birju Maharaj.  

Another striking feature of Vishwaroopam is its cast which is cherry-picked to deliver more than able performances. They breathe lot of life into their roles. Rahul Bose shares a meaty screen space and with his muffled voice he is intimidating and outstanding in his role. Pooja Kumar is expressive and crosses another milestone as an actress in the lead role by setting newer benchmarks. But her dubbing stays away from the natural and is irksome at times. Andrea Jeremiah gets very little screen time, and the only noticeable line from her is that everyone gets to play a double-role. Albeit in a short role, Shekhar Kapur and Zarina Wahab brought profuseness to the film.

All that glitters is not gold. The movie ends by leaving a trail for its sequel and after so much of struggle such an abrupt ending causes some jitters. There is no quick-fix solution to curb terrorism but Kamal could have taken some measures to pull off an enthralling climax. Even the events leading to the climax in the second half are not well orchestrated. The film moves at a slow pace in the first half, and the gore and graphic violence at places could make it unpalatable for family audience. The screenplay is a fancy for an intelligent movie watcher, and all the time you have to glue your eyeballs to the screen to decipher different elements of the story, but if your focus gets derailed you may lose it. Again it boils down to your imagination to weigh the message from the movie.

Bottom-line: If you avoid all the spoilers flying around, the writer - director’s success in creating an ambience filled with earnestness will definitely help you to focus and follow the film. Vishwaroopam presents a wide array of human emotions – child emotions, camaraderie, candidness, etc - with an emphasis on global terrorism. Most of the scenes hit the bull’s eye rather than beating around the bush. With Kamal Haasan at the helm of affairs and all the cast and the crew firing on all cylinders, this magnum opus is a stunner and a sure winner. Don't miss this Indian made Hollywood-ish thriller.

My Rating: Expectation – 8/10; Reality – 7/10

Movie Review – Inkaar (Hindi) – Where platitudes are plenitude!!

What everyone reveres in a Sudhir Mishra film is its ingrained ability to exceed expectations. So they are all excited about the portrayal of unseen side of Advertising industry in his new film Inkaar. The film, written by Manoj Tyagi, is the story of a woman who gets exalted quickly in the ad world; all thanks to her acumen and sudden-rush-of-blood creativity laced with loads of opportunism. Thus the film moves away from reality as the industry is not infested with epicurean lunatics and there are other methods to consolidate your career in advertising. This one-sided, women-centric approach marred an otherwise engaging tale. If Mishra wanted to make a film and showcase the guts, glory and gumption of his central characters then he should have picked a different fork.

Fantasies galore in this flick: advertising heads and copywriters getting ideas in a jiffy, a smack in the middle of an acrid verbal combat between boss and subordinate, for that matter, deep discussions under dim lights in hotel rooms. So work and play are always hand in glove.

The leading lady, Maya (Chitrangada Singh), shoots up to the position of National creative director and subsequently finds a place on the board.  This comes after she leaves Mumbai, the birth place of her career which takes shape in the mighty hands of venerated ad guru, Rahul (Arjun Rampal), and their unsightly break-up. As she is professionally equal to Rahul that instigates a fight for best among equals. All this torture drama leads to Maya filing a case of sexual harassment against Rahul. 

What forms rest of the story is who tastes victory, and how? The writer and the director have an uncanny answer to this intriguing question and that foils the sole objective of the film. What could have been a gripping view on present day relationships in a frenzied, compulsive work culture is single-handedly ruined by contorted puffery and preposterous ending. I hope by now loads of other flicks which are based on similar story-line crossed your path. Good that you are not derailed from your objective of cracking the nut and spotting the difference.

The film’s story has lot of promise, but it ebbs on banalities and unrealities. The writing is riveting in parts, not in its totality. The ups and downs at workplace, an onerous and unyielding professional life, getting things done in the nick of time, may instantly strike a chord with the (b)ad (m)ad world. Inkaar starts with an audacious prologue and holds fervor in its earlier pages, and could have been truly revolutionary. But as the film meanders towards the epilogue it becomes a film that prefers to revoke, rather than invoke more promise. Arjun and Chitrangada struggled to give the film heaviness by bringing earnestness to their roles. But, sadly, they could not hold the film’s structure that’s built on half-baked bricks.

Director Sudhir Mishra uses the flashback format – which he’s perfected since long time - to narrate the pivotal elements of the story. Deepti Naval as the head of a committee plays a crucial role when she interrogates people and takes their version. This again is inspired from French noir alongside traces of few Holly / Bolly flicks. Non-linear narratives just happen and no one forces them to happen. If you want to steer every story to a non-linear side then it may fall into abyss. Hope the director didn’t learn some lessons from his last outing Yeh Saali Zindagi. Here, in the film, same stories – word-for-word rendition - are told with different point of view making it a boring ensemble. This film is nowhere close to Mishra’s earlier epic films - Is Raat ki Subah Nahin, Hazaaron Khwaishein Aisi, etc. - where incisive dramaturgical machinery made naturalism silver-tongued. Inkaar nestles on stereotypes making it a clumsy attempt at delineating a germane issue.

Bottom-line: In spite of the seeping melodrama Inkaar is watchable at places, but the saddening part is that its poise goes haywire. This taut thriller further gets dampened with the repeated use of a self-patented tool and a chink-in-the-armor like climax. The lead actors shine in their roles, but eventually the farcical convolutions of the story and its seemingly uncanny treatment submerge the awesome. Albeit the film has a fresh approach with its take on sexual harassment at work as its main theme, it fails miserably in nurturing the main characters’ roles with intensity. When someone asks you whether to watch this film or not? You will certainly find yourself in a catch-22 situation to say a YES or a NO!!

My Rating: Expectation – 7/10; Reality – 4/10

 

Movie Review – Seethamma Vaakitlo Sirimalle Chettu – SMILE is the elixir of life!!

Let me first take you on a nostalgic ride. Walk back in time and try to recollect the glimpses of your childhood when your father chided you for roaming on the streets and your mother scolded when you were playing in the rain. At that time, they seemed to be unbearable for all of us and we thought our wings of freedom were cut. Now, we revisit and revere those simple but beautiful moments of glory, and realize how pristine was the love and affection showered by the family. Seethamma Vaakitlo Sirimalle Chettu takes you on such an emotional journey and weaves a gossamer tapestry of relationships.

One can draw a parallel between a family and the society. A family can be equivalent to society, but is it possible the other way around is the intriguing question. Society is loaded with people with different characteristics, problems, tensions, struggles and many more. No one finds time for others and they stick to their own self and strive to uplift themselves. If we can imbibe the affections of a family into the society then we can plausibly ward off its afflictions and achieve Vasudhaiva Kutumbakam - the whole world is one single family. This is the summary of SVSC and writer-director Srikanth Addala says you need not don the role of a messiah of masses or a masked vigilante to save the society and make it prosperous. All it needs is the gift of a good family. His vision knew no bounds when he showcased these thoughts in the film. Expand you horizon and think beyond the normal should be his mantra when he etched this storyline. For that matter, we can’t label it as a story because it’s difficult to constrain LIFE in the form of a story.

The head of the family, Prakash Raj, who is a good samaritan has two sons – Peddodu and Chinnodu played by Venkatesh and Mahesh Babu respectively. Peddodu is irascible, obdurate and doesn’t like to mend his ways for others and Chinnodu is pliable and moves ahead with times by deftly managing things and people. Both the brothers love each other and are cynosure of their family’s eyes. The other members of the family are Seetha (Anjali) - a village belle who always dreams of marrying peddodu and charms everyone with her spontaneity and effervescent nature; Jayasudha who’s brilliant in her role as the mother; and Rohini Hattangadi who plays the grandmother of the family. The director takes ample time to establish these characters on screen but for some he’s left some loose ends and their very purpose is only elucidated in the latter half. Subtle clashes, mood swings, emotional quotient between the brothers and how they battle against the odds forms rest of the story. 

The road less taken is taken for a reason and SVSC is a living testimony to this adage. The film goes into our hearts as a beautiful, heart-warming story, albeit there is some piece de resistance. Srikanth Addala might have had a tough time convincing Venaktesh and Mahesh for this project. He’s beaten the stardom of two superstars to pulp and all through the movie we see them as actors and not stars. The director also ensured not to scribble on the clean-slate imagery of the film with any unwanted fights, forced laughter and item songs. How the brothers get separated on tiffs and how they are reunited and in the process how they handle their emotions – throwing the glass, breaking the pot etc., are put together like a string of pearls. The atmosphere of Godavari district and its slang shown in the film gives us a vicarious feeling.

The second half of the film is a bit slow and dramatic and climax is the heart of the film. Geeta (Samantha) who’s part of a rival family plays the love interest of Chinnodu. Their conversations are uber funny and are part of the endearing moments of the film. Mahesh Babu crossed another milestone with this film. On one side, Venkatesh’s character is underplayed and he breaks into emotions in no time and on contrary, Mahesh’s Chinnodu is controlled and when time comes he’s ready to walk that extra mile. Rao Ramesh as the head of the rival family is a key plot driver of the film. The way he embarrasses both the brothers and the follow of events forms the crux of the story. The conflict point between him and Venkatesh were handled ably by the director. Anjali and Samantha play two extremes of the spectrum and shine in their respective roles. After a long time, it’s pleasure to watch Prakash Raj in such a magnetic role.

K V Guhan’s cinematography lends the film an appealing, often magnified, rustic aura. He complements the film-maker’s muse by selectively framing the village, the house, the railway station and other locations of greenery-soaked rural landscapes. It’s good to see veteran writer Ganesh Patro comeback with crisp and razor-sharp dialogue. Mickey J Meyer serves a bland platter of assortments but Mani Sharma spices it up and makes the meal palatable. You relish the BGMs but go through anguish while listening to the songs. I am surprised why the entire music department was not given to Mani Sharma, he would have definitely pulled off another Murari or Athadu with his music. Some dismal moments in the film are when a gal pops up in every scene and exalts Mahesh to the status of a Greek god, and he gets rejected in a job interview for wearing a fake smile. In an otherwise immaculate family-entertainer these things remain as black spots.

Bottom-line: Seethamma Vaakitlo Sirimale Chettu is a gently flavored, soothing savory, blended in perfect proportions of saccharine and other ingredients. It’s a slice-of-life film replete with multiple layers of love, emotions and subtle shades of grey. Dil Raju and Srikanth Addala should be applauded for this laudable effort of crafting a fine tale. This sensible film takes the love for your village, language, family, emotions, relationships, society to another level. Smile and make others smile, then the world becomes a utopian land, and for that we need good families - That’s the magical message given by SVSC.

My Rating: Expectation – 7/10; Reality – 7.5/10

Movie Review – Naayak (Telugu) – Celebration of commercial cinema!!

The magnificent number SEVEN has taken the world by storm since time immemorial.

Seven wonders, Seven notes (sapta swaras), Seven deadly sins, Seven seas, Seven colors and many more. This magical number spread its wings to the tinsel town and they are churning stories with the help of seven people – directors and writers. So, are there just seven stories in the industry that are rehashed again and again to get a hotchpotch yet breakthrough product? Some stories are born out of personal experiences, or inspiration from plays, movies, books and myriad sources. Such stories exude a lot of life. But most of the stories in recent time are akin to a mosaic with tiles assimilated from various sources. Be it Bollywood, Kollywood or Tollywood, everyone is treading the same path. All said and done, it’s not an easy job to present an old wine in a new bottle. This stage is set to fathom the depths of Naayak, a film by V V Vinayak, and get a taste of its high fliers and low liers.

Naayak is a celebration of commercial cinema. It’s a sugar-coated capsule where the sugar outsmarts and overshadows its core. As every other film of Vinayak, this one starts with a bang and introduces the hero. Then it sails through different waves of comedy, songs, fights and an element of suspense. Though the film gives a feeling of déjà vu, writer Akula Shiva chalked out a deft narration to engage the viewer. It’s the interval block that opens the bag of surprises and tells you where the movie is going. This film has many Vinayak regulars: two heroines, powerful villains, songs, fights, and loads of rib-tickling comedy. With this film the director crossed another milestone proving that he’s the best when it comes to making a film in action-comedy genre.

Ram Charan till now tried a lot to emulate his father, Megastar Chiranjeevi, and in this film he completely got into his shoes. He’s a new breed of heroes who played the magnanimous role of a messiah of masses to perfection. He ably juggles between the image of a mass hero and a lover boy. The audience is confused as what role Cherry is good at essaying – a thud thud, dishum dishum one or a cute looking guy next door or both rolled into one. In the film, Charan plays a dual role of a software engineer and a leader who lives for the society. He did that before in Magadheera, but there, one character stops its journey and the other takes off. In Naayak both the characters travel together. Although there are no sweeping variations in both the characters, it’s pleasure to watch them on screen.

The comedy department outshines others in the film. With the likes of Jayaprakash Reddy, Brahmanandam, M S Narayana, Posani Krishna Murali at the helm of affairs the film is no less than a laugh riot. The one who’s taken all the brownie points is Jayaprakash. His different body language and variety dialogue evoked many chuckles from the audience. As always, the actresses – Kajal Agarwal and Amala Paul - have very less to deliver. They are used as mere caricatures to paint some glamour on the film’s canvas. Hope Vinayak comes out of this shell and gives the female leads some meaty roles. Cinematography of Chota K Naidu is striking and some of his uncanny angles elevated the scenes and emotional quotient. Editing by Gautham Raju falters at places but he’s successful in creating a decent ensemble.

How do you feel when someone cuts the wings of the lovely bird you have preserved for decades? Without a second thought you would speedily cut the wings of that person who’s committed such a heinous crime. After listening / watching the song Subhaleka Raasukunna, everyone will run after composer S S Thaman’s life. He failed miserably in recreating the magical aura of that song. If he can’t do proper justice to an evergreen melody it’s better to stay out of it. In a movie that’s replete with so many shades and scenarios, Thaman failed to impress with his BGMs. It’s high time he wakes up and smells the coffee and learns lessons from his counterparts in Telugu cinema.

It’s hard to separate bloopers and Telugu films, and this film also has plenty of them. Cineplanet multiplex (Kompally, Hyderabad) and Nehru outer ring road in Kolkata; West Bengal DGP getting transferred to AP; illogical logic in court; Bizzare climax; among others register quickly. It would be better if Vinayak tries to walk against the grain in his next film and also pays some attention on the production design. Hope he avoids beating the audience to boredom with over exposure to CGI in the place of real exotic locations. The makers in their promotions said the songs were extensively shot in Iceland and Slovenia, but that's doubtful.

Albeit Naayak is a run-on-the-mill stuff, it has its dose of heart-touching moments - it brings to light some facets of social-awakening by plugging in issues of social concern such as atroctites to poor children, flesh trade mafia etc., into the narrative. The movie can pride itself for this philanthrophic gesture and for unleashing an untold dimension of society that's otherwise neglected by many Tolly fim-makers.

Bottom-Line: The review started with the number seven and its connection to Naayak. Now, let’s pull the curtains reiterating that V V Vinayak made this film from the contributions of seven directors including him.

1) Shankar – Sivaji – The Boss, Oke Okkadu.

2) S S Rajamouli – Simhadri.

3) Suresh Krishna – Baasha.

4) Sreenu Vaitla – Dhee, Ready.

5) Harish Shankar – Mirapakay.

6) Danny Boyle – Slumdog Millionaire.

7) V V Vinayak – Lakshmi, Krishna, Adhurs, Tagore.

Final Cut - Forget the logic and enjoy this complete paisa vasool entertainer.

My Rating: Expectation – 7/10; Reality – 5/10
 

Movie Review – Dabangg 2 (Hindi) - Chulbul without his amulet!!

The year 2010 saw the advent of Abhinav Kashyap’s Dabangg and its sweepstake Chulbul “Robinhood” Pandey, and from then he ruled our hearts. It was far-fetched to despise this messiah of masses. A gawk of a policeman, arbitrating north Indian jingoism by flaunting his brash virility and clumsily heaving hips and babbled biceps. Albeit a routine fare, the movie had its sheen – A robust and rollicking protagonist, different dialogue, a hearty and unipolar mockery on the police establishment which ran through the tawdry narrative.

Now it’s the end of 2012, to be precise the so called world’s end and the stage is set for its sequel, Dabangg 2. This time the baton has been shifted to Arbaaz Khan, so the film lacked three vital Cs – Content, Clarity and Creativity. Pandey who started his life’s innings as an abandoned child by his biological father and detested his step family, is now a complacent son-brother-husband-and towards the end, a father. The backdrop of the film moves from Lalgunj – a town in UP - to Kanpur because Mr Chulbul wants to display his towering machismo in larger-than-life action sequences, and a city canvas would help him quench his thirst.

Apart from these unfussy requisites, the director and the writer, Dilip Shukla, deconstructed an already slender story-line into an even languid revenge drama. The hero, the villain, their allies and sidekicks - surprisingly, act as catalysts in the narration; and some embellishments in the form of insipid songs makes up for the film. Rather than telling a story, the director collates bits and pieces to form a collage that’s akin to the previous one that very well justifies the lame conclusion. The only effort put by him is to give the film a touch of sequel. You can see some allusions to its predecessor – Our hero makes a thumping entry with a montage of sequences from Dabangg in which he bashes and batters bulky goons in slipshod slow-motion shots – dishoom dishoom, thud thud, dishoom dishoom, thud thud… Needless to say, every action sequence parrots the one foregoing it.

Please don’t sleep through the review. Abhi bahut kehnaa baaki hai…

Dabangg 2 is the practice of a banal writer/director. It’s a film that swaggers ahead to accomplish its deliberate purpose – to rake in the moolah by offering very little. Chulbul Pandey breathes life into the film with his machismo and puerile mirth – the way he spirals in the item number alongside Kareena evokes many whistles from the audience, but he has to part with his amulet owing to the lackluster script. The music by Sajid-Wajid fails to impress and every song goes unregistered. You like Fevicol Se for the obvious reasons and not for its music. So, even for the most reverent disciple of Salman Khan, Dabangg 2 might be a discontent.

The film extends its portrayal of police department ensnared in an irretrievable web, and Chulbul Pandey giggles at it and plays on it. He is a jester, a scoffer, and Mr. Kill-Will. That’s right. He can kill at will and is exalted above the system. He tries to control anarchy by rejoicing it. Alas! The derision in his character does not construe charmingly on screen, and what you get to see is a run-on-the-mill flick with one policeman against the corrupt system and fighting lawlessness all alone.  

Apparently Dabangg was one of Salman’s finest performances wherein he juggled being an actor and a hero. Now the sequel Dabangg 2 transports him back to Bodyguards and Readys of the world. He tries to enthrall the audience with his witty lines – “Akal ke aane ke liye shakal ke bigadne ka kyon intezaar kar rahe the tum” etc., but his over dependence on a few patented expressions and done to death slow-motion stunts rule the roost. This again pops up the question – Who is Salman Khan?? An actor or a hero!!

Sonakshi Sinha has very less to offer in this film. Her rustic beauty of a village belle is lost in her new avatar as a conventional wife. Vinod Khanna looks and delivers the same from the original. Prakash Raj as a bad guy with UP accent is a wet firecracker and fails to make a mark. His character is nowhere close to that of Sonu Sood. The surprise package is Deepak Dobriyal who plays the villain’s brother - a petty goon in the town. May be the fine-tuning he received while working with the likes of Vishal Bharadwaj and RGV came handy in delivering such a performance with poise. And let’s stay away from discussing the acting skills of Arbaaz Khan. 

Bottom-line: I want to reiterate that Dabangg 2 is devoid of three Cs – Content, Clarity and Creativity. Hence it’s a disappointment. Your patience slowly wears thin with no novelty in story-telling. But to everyone’s surprise, the question that’s doing rounds is whether this film breaks the records set by Ek Tha Tiger or not?? Argh!! A takeaway from the film is that there’s no takeaway (rehash from Kungfu Panda – triggered because Chulbul pandey is referred as Kungfu Pandey in the film). The film has nothing new to offer, and nothing stays with you once the curtains are down. If you treat Salman Khan as a new genre in cinema, then this film is for you. Don’t forget to watch it on single screens amidst all the whistles to taste every bit of this masala potboiler. Or simply watch Dabangg on DVD and play Dabangg 2 songs in the background for an utterly disruptive experience.

My Rating: Expectation – 6/10; Reality – 3/10