Movie Review – Thadaka (Telugu) – Entertainment at its best!!

Disclaimer: This review is written by a Naga Chaitanya Fanboy

Tollywood stars may need to up their ante. There’s a new sheriff in town and there’s no doubt that he is a force to reckon with. Young ‘Yuva Samrat’ Naga Chaitanya will set a new box office record in Andhra Pradesh with his latest offering Thadaka. This star, like a tiger waiting for its prey, has been waiting since long time to touch stardom. Finally, his efforts bore fruits. He was so deadly, in fact, that his counterparts would go blind from over-exposure to pure awesomeness. The man is now set to break the records set by others, and stamps his supremacy in an already crowded galaxy of stars in Tollywood.

A man who believes in cherry-picking his scripts knew no bounds showing his acting prowess in this film. Innocence, romance, emotion, action, dance, comedy – say it, he delivered it at the drop of a hat.  Of all the multiple hues of Naga Chaitanya, the way he ably juggled his innocence and comic timing in the pre-interval fight sequence is the one to die for. In the film, you’d revere his cute look, rugged look, spiked look, and above all the macho look – all rolled into one. At the fear of sounding immodest, I would declare that the star is reborn. Need I say more! 

Having said that let me get touch base with reality. The above paragraph is a ploy to glue your eyeballs to the review. As a fan, I spoke a few things about Naga Chaitanya Babu and for the remaining dose of few good things, please watch Thadaka. After a long hiatus, with this breezy entertainer, director Kishore Kumar Pardasani struck like lightning. This film will burn other movies in its vicinity, that’s the immense energy it exudes. Kishore’s last outing was Konchem Ishtam Konchem Kashtam in 2009. This time he remade the Tamil film Vettai and delivered a no nonsense ensemble that’s replete with many WOW moments. He tried to keep the movie close to Telugu flavor and captured relationships and their interspersing emotions in a better way.

The movie is about two brothers – one fearful and the other fearsome. Their journey through life, how they complement each other, their love stories form the story. As every commercial potboiler, the movie is a loaded gun with bullets of comedy, action, songs, dances, villains, and other wicked elements and ultimately ending with good’s win over evil. So, don’t expect anything new, but the way the narration is layered makes it a novel one. The movie gives a déjà vu feeling of SVSC, Dhada, Gopi Kishan (Hindi) etc, but the taut screenplay swashes everything.

Sunil’s character was underplayed in the first half but he fires all the cylinders in the later one. He’s paired opposite the lanky Andrea Jeremiah who looked pretty and made a remarkable Telugu debut. Apart from the group songs there aren’t any duets for them. Tamanna occupied more screen space than Andrea. In an uncanny introduction of both the heroines, two extra frames were dedicated to Tamanna, and this made it clear that she is the apple of film-maker’s eyes. Some songs are forcibly induced in the narrative and the song Mara O Mara is a treat to watch. This song is hard hitting for obvious reasons and can be termed as modern avatar of Hey Goodbye Priya from Yuva.

The comedy track is laced throughout the movie. Certain symbolism – meka pothu, hanging name plate etc. – makes the laughter quotient exponential. Sometimes it’s Sunil who evokes chuckles, and most of the time it’s Brahmanandam, Rama Prabha and Vennela Kishore who take the mantle. Not to forget, Naga Chaitanya induces his dose of laughter in many scenes. Asutosh Rana looks menacing as the antagonist, and his magnetic presence lightens up the screen.

Three cheers to the adrenaline-rushing, well-choreographed action episodes. Cinematographer Arthur Wilson pushed his envelope in canning these action sequences. The slick editing of Gautham Raju is another reason to cherish. He managed to fit the movie into a reasonable runtime.

Guitar, Violin, Veena, Flute, Drums, Strings, Saxophone, Harmonica – No, I am not reading a list of musical instruments. These are the ones used by S S Thaman in the music department. After a long time, his music is refreshing. I generally refrain from commenting on his music, but this time I couldn’t resist myself. The background score is decent and elevated the scenes consistently. Now the great DSP got a competition because Thaman has evolved and learnt the art of churning a mass number.

Bottom-line: This movie offers three things – Entertainment, entertainment and entertainment.

My Rating: Expectation – 5/10; Reality – 6.5/10

SAHASAM story – Let the guessing game begin!!

Disclaimer:

---------------

This is an attempt by my friend Jayasimha to guess the story of Sahasam, directed by Chandrasekhar Yeleti, from the recently released trailer. He doesn’t intend to hurt anyone associated with this movie. The following story is written purely on his observations. It may be correct or wrong. There is some kick in any guessing game so he just gave it a try (based on his freedom of expression)..!!

Synopsis:

The story can be traced back to the year 1947. Satyanarayan Varma (Suman) was a diamond merchant owning Pushpakalavathi diamond shop near Indo – Pak border. In the month of ‘April 1947’ when the communal fight was in rage (during independence), he fears an attack from the mob (who takes advantage of such situation) that he would be looted and killed by them. Sensing the trouble, Satyanarayan Varma carries all the diamonds he had, and escapes from the back door of his house.

 

Document showing the date as 26th April.

 

He understands that it was inevitable that he gets killed. He hides all the diamonds in a cave which was supposed to be the cave where the idol of Hinglaj Devi exists. He gets killed in the communal clashes and the remaining people migrate to India. Along with them comes a child (Narendra Varma), father of Gopichand.

 

At present, Gopichand works as a security guard in Hyderabad. We can confirm Hyderabad from the below pic (you can see Sultan Bazaar on the shop’s address

 

 

Gopichand worships Hinglaj Devi and is an ardent devotee of her, but he doesn’t know her name and where her temple is. Taapse (is a guide) visits one of the dance programs for which Gopi takes care of the security. There he listens to her telling about Hinglaj Devi as the biggest Shakti Peetha in Pakistan and sees her photo. This creates curiosity in Gopi and he asks Tapsee to take him to that temple as he wants to visit at least once in his lifetime and it is the same goddess that he has been worshipping since his childhood.

 

To know about Hinglaj Devi Shakti Peetha, let’s walk through the mythology lane:

 

King Daksha (son of Brahma) organized a great yajna, but did not invite Lord Shiva and Sati (the first wife of Lord Shiva). Uninvited, Sati reached the yajna-site but Daksha ignored her and insulted Shiva. Unable to withstand this insult, Sati jumped into the sacrificial fire and committed suicide. Sati died, but her corpse did not burn. Shiva forgave Daksha.The grief-stricken Shiva wandered the universe with Sati's corpse. Finally, the god Vishnu dismembered the body of Sati into 52 parts, each of which became Shakti Peetha, temple to a form of the Goddess. The head of Sati is believed to have fallen at “Hinglaj”. So this peetha is considered as the most powerful place. Shiva is also worshipped at each Shakti Pitha in the form of Bhairava, the male counterpart or guardian of the presiding goddess of the Pitha.

 

 

Shakti Kapoor is a local goon (operating near Karachi) in the range of Kheerthar hills, in the Makran desert stretch. He keeps searching for artifacts and uses a team to collect such goods. During his quest to find clues about his ancestors, Gopi comes across an old stone on which his grandfather's name was etched as a donor of gold and diamonds for a temple.

 

He then encounters Shakti Kapoor gang and he comes to know that they have found a box which has a treasure but they don’t have the key. The key to open this box is a locket shaped metal which has a god with wings behind hands (representing Lord Garuda).

 

 

Gopi comes to know the importance of this symbol from an ancient book which has info about Kanishka, emperor of Kushan dynasty in the 2nd Century. This book explains the Rapa Nui and Indus scripts. It also explains the symbols related to Caduceus or two snakes (Herald’s Staff/ Aaron’s Rod). It contains the importance of Garuda symbol to open a box with treasure.

 

Gopi and Taapse get trapped by Shakti Kapoor and they are taken to the small natural cave where the idol of Hindlaj matha is present. As mentioned before, Shiva is the guardian at each shakti peetha, the following is the trap created with the power from Shiva that protects the treasure.

 

This is the box having treasure which is protected by Lord Naga.

 

Now the responsibility is on Gopi to protect and safeguard his ancestors’ property and save it from falling into evil hands of Shakti kapoor and gang.

 

THE END

 

P.S: We should really appreciate Director Chandrashekhar Yeleti for the originality in the story and correlating Indus Valley Civilization symbols, Independence communal fight, Shakti Peetha and some kinda treasure hunt. This is truly refreshing. All the Best to the team of Sahasam.

 

About the author:

Jayasimha daylights as a Telecom Analyst and moonlights as a Writing Catalyst.

He can be reached at njayasimha@gmail.com

Facebook Profile: www.facebook.com/njsimha

 

Movie Review – Greeku Veerudu (Telugu) – A stylish yet soporific misnomer!!

Europe – Europe

India – India

USA – Green screen and Annapurna Studios

Don’t get me wrong. This is how the makers of Greeku Veerudu redefine the geographic landscape of the world and effortlessly make Big Apple, a home grown fruit. Thanks to cutting-edge technology that made this possible. In the film, whenever you see some footage of USA, what you see is a shoddy compositing work by people who possess zilch experience in handling it. The naked eye of a wayfarer with a nonchalant glance can say that the film is fooling the audience. Sir, the audience has grown intelligent, so please refrain from such acts. When nothing was shot in USA, how can you claim in your pre-release publicity that the film extensively traveled through US and its exotic locales were canned to give a visually appealing experience? But, alas! Here the audience gets to experience Europe and was forced to mistake it for USA. There is also Lufthansa Airlines carrying passengers from one US state to another. Oh, that’s a long-winded homage to this ‘Green screen’ Veerudu. Before your patience wears thin let me rush through the review.

Nagarjuna Akkineni plays a role with shades of grey. These shades of grey can also be seen on his hair. What a symbolism! By adding so much of gloss to the template, the production team might have run out of hair color. When I say ‘template’ I mean the one used for making an emotional love story or family drama. Director Dasarath wanted to push himself light years ahead with his new offering but in the process gets pulled years behind and nestles under dim light. What happened to me? I started with Nagarjuna’s character and now talking about something else. That’s the devastating effect the movie had on me. Focus… Nag believes in no-strings-attached relationship and always hovers on a philosophy that Relationships are pain. This bravura act gave pinching pain to audience and to whoever it may concern.

Let the story go on. Nagarjuna befriends Nayantara, who is an activist for ‘Make a Wish foundation’, en route India. If I am not wrong, Nithya Menon in Ala Modalaindi is also an activist for the same foundation. Does that ring a bell? And when Nag finds himself in a deep soup, she rescues him and what follows is a predictable story-line  By now you might have guessed the screenplay that is from the Precambrian era and, huh, who cares for the climax. If you dare to sit through the lackadaisical narration even after the interval, you can pat your back and nominate yourself for ‘Red and White Bravery Awards.’ For the record, I already sent mine. Forgot to say, Nayanatara looked cho beautiful in Parrotish sarees. And despite sporting a crossover look of Orlando Bloom and Robert Downey Jr., Nag's age was visible on his face.

Now something serious! The film teaches you what middle-class mentality is. Hitherto I believed that is something similar to mine – saving a lot for the rainy day, trying to do multiple jobs for better earnings, and many other things which are open to middle-class imagination. But I learnt that middle-class mentality means valuing family and relationships. That opens the Pandora’s Box minus the hope. Please note that the rich and the poor don’t care for either. Don’t kill me for such an inane and extreme statement, the movie said so.

As an avid lover of Telugu cinema we can’t complain for ‘old wine in new bottle’ story-lines but the writers and directors should take proper care to present a pleasing ensemble. Who stopped them from penning an engaging screenplay and in turn giving doses of entertainment? Where is the witty dialogue, where is the comic relief – most of the comedians are grossly wasted and they failed to make an impression. The scenes with M S Narayana and Kovai Sarala were utter disaster. Why these characters come on screen without any notice and they disappear into dark, again without any notice. Kota Srinivasa Rao, Supreet, Venu Madhav, Nagineedu, Vennela Kishore did a ‘lightning-struck-from-nowhere’ cameo.

The movie’s release date coincided with 100 years of Indian cinema – the release of Dundiraj Govind Phalke’s Raja Harishchandra, and what we get to see is a painstaking film that bites the dust in the annals of the history of cinema. That’s a bad coincidence and a sorrow moment for Telugu cinema. Wait, though the movie goes down the drain, it has some high-fliers. It was great to see veteran actor K Vishwanath light up the screen with his magical presence. The supporting cast shined in some scenes inducing emotion and drama into the narration, but they lacked profundity. Every emotion is so sudden and the character transformation of the protagonist happened in a jiffy that you can’t stomach them. And from now on, I refrain from talking about S S Thaman’s music because I am not mature enough to understand the depth in his music.  

Bottom-line: The movie is a stylish yet soporific rehash of Santosham laced with characters of Mr. Perfect which was in turn reverse-engineered from Bommarillu and Orange. Simple gaa ee sodhantaa lekundaa mana baashalo cheppalante – Paata chintakaaya pachadilo kottaga maadipoyina taalimpu vesinattundi ee cinema. Watch it for stylish Nag and gorgeous Nayan. Or take my advice and give it a miss. This saves your money and also saves you from boredom. Wait wait... doctors have started prescribing this film for people suffering from insomnia. If you are one among them, please watch this film. It will be a perfect cure. Ayinaa anni cinemalu chudadam endukuraa bujji. Asale ticket rates kuda perigipoyaayi..!!

P.S. Last week I wrote a suicide note and died. Now I became a ghost writer and this review is posted by my ghost. Oh Telugu chalana chitra parisramaa, oka saari chacchina vaadini malli champadam nee valane saadhyam avutundi.

My Rating: Expectation – 7/10; Reality – 3/10

Movie Review – Shadow (Telugu) – A kiss with kitsch!!

Suicide note of a cinephile:

Any movie is not extra-ordinary. It boils down to the audience who makes it extra-ordinary. It’s better if directors and writers stop bombarding on social media that their movie is extra-ordinary. Every time when a promotional activity goes overboard, it kills a film rather than saving it. So, my humble request is to stop all the blah blah lines and learn the art of making of a good film.

Of late, it’s difficult to find a decent story line in most of the films even if you look through a telescope. And director Meher Ramesh is a living testimony to this adage. Sir, please make ordinary movies, at least they have some content and story. Don’t trouble the audience every time with a game of Treasure Hunt, err, Story Hunt. You have all the state-of-the-art faculties who can pen down a perfect script. So, use them to their optimum and deliver a palatable meal. 

Always remember that the gloss and candy floss enhances the beauty but don’t make the film beautiful. When you want to make a style sans substance ensemble you are digging your own grave and in this case you are also digging mine. The china pillala comedy you showed on screen, always, hit more and more nails in my coffin. Aa comedy china pillalaki kooda chiraaku teppinchindi. All the CGI, extravagant set design, exotic locales can’t hide poor writing. Loose ends can’t make a tight narration. So, please focus on writing and work on scene composition. By doing this you can also save a lot of suicides from the audience.

Dookudu is just an entertaining film. It’s not a textbook film on which you base your thesis. Please stop emulating the comedian characters or the laughter-induced climax. It worked for it but bombed for all the later films that tread the same path. Can’t you understand the plight of a recent flick that bit the dust by taking the same approach? Oh, I missed a vital link. The writers of all these films are same – Gopi Mohan and Kona Venkat, so no comments. They are stuck in a mold and can’t push the envelope, but their shoddy work will definitely send poor souls like me to gallows.

When an average individual like me can point so many bloopers in the film, why can’t intelligentsia who are part of the crew point them out? A cop sees a criminal running through the grave yard. He can’t see his face but can see the cross he is wearing so clearly that he re-designs it from his memory. Then I expected a Gentleman type connect-the-dots storytelling format. But this clue gets killed midway. The way a new Mercedes E-class pops out in a 1993 scene opens a bundle of anachronisms. And sir please, a medical doctor is a psychiatrist and not a psychologist. I don’t know how a psychiatrist can be a postmortem or autopsy specialist. Doctor friends please help me break this enigma. Suicidal tendency grows with every passing scene.

A major reason for my suicide – I couldn’t see my favorite hero ‘Victory’ Venkatesh in such a disastrous role. Meher Ramesh promised that he will re-invent Venky and show us a new him. Kaani prapramchamlo intha chandaalamayina image make-over evaru chesundaru. Thanks sir. We shower all the accolades on you and bestow all the available honors on you for killing our star. You played with our senses and made us forget who the hero is? At times, we thought M S Narayana is the hero and not Venky. OMG, why should Venky fall on youngsters – Mahesh, Pawan, NTR and Prabhas – always in the comedy scenes? That’s another yaaaak moment. That’s the genius of Meher Ramesh. He was not economical in terms of production, but was economical in dressing, err, undressing Tapsee.

The one who hit the final nail in my coffin is music director (for lack of a better term we are still bound to call him that) S S Thaman. The same title track was repeated to death and to boredom of audience all through the film. Ee vetakaaraniki malli Auro 3D 11.1 sound ane prachaaram. My question – when you have only one track to play all through the film why the hell you need 11 channels.

Bottom-line: Paina raasinave chaala ekkuva. Inka naaku opika ledu. Ayinaa chaava boye mundu chivari maata – Gaalini muttukoleru , Mantanu tattukoleru ee Shadow ni choodaleru.

P.S. Please share this suicide note with everyone who wants to watch Shadow. And, my obituary will be published at the time of the release of Shadow 2.

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

Movie Review – Baadshah (Telugu) – Welcome to Cocktail mixology!!

IPS – Indian Police Service is an esteemed All India service and most citizens vie to be a part of it. Since ages, Tollywood has been mocking IPS. In Pokiri, Puri Jagannath shifted the National Police Academy from Hyderabad to Dehradun; in Dookudu, Sreenu Vytla sent five IPS officers to Turkey just to peep through a telescope and do nothing more than that; and in the recent flick, Baadshah, he crossed an extra mile! Despite getting 85% in Civil Services prelims and 95% in mains, and faring well in the interview, a person is denied entry into IPS. And to everyone’s surprise, he questions UPSC, err, Police Recruitment Board, or whatever, why he’s not selected. In due course of time, his good deeds surface and an Inspector General of Police recruits him in IPS and he becomes an Asst. Commissioner of Police. Thanks to all directors who used IPS to their best. No one else can show so many digressed facts about this Civil service.

Having said that let’s dive into the story. The movie opens with a typical fight sequence in Hong Kong showing the towering machismo of Jr. NTR as Baadshah. He is seen in shackles but breaks loose to kick and kill the goons. That's Telugu cinema at its best. More than anyone, cameraman K V Guhan struggled a lot to pull off this sequence with poise. Then in the utmost predictable way the movie shifts gears to Milan, Italy. Kajal Agarwal is seen as ‘good samaritan’ Janaki (most traces of her character were borrowed from that of Prakash Raj in Premaku Velayara). Modatlo Janaki (Kajal Agarwal) Banti siddhantam / vedantham kottaga anipinchinaa adi vinaga vinaga chaala chettaga anipinchindi. As an intelligent audience we know that NTR comes to Italy under some stupid pretext but carries an ulterior motive with him. Then the movie shifts again to multiple flashbacks that made the narrative haywire. Some sudden emotions and forced characters made the film hard to stomach. 

The writers brigade Kona Venkat and Gopi Mohan tried to emulate ‘Maatala Mantrikudu’ Trivikram in every scene and in every line. All the surmises don’t lead to surprises and serve things that are run-on-the-mill and used to death in multitude of films. The story was predictable miles before, and even a kid can tell where it was going. In one scene Vennela Kishore talks about ‘innovation in praises.’ Had the writers took that seriously and brought about some innovation to the script the outcome would have been better. And please, Ee Taata peru bhajana aapandi babu. One line from the film – “Taata peru pettukundi samaadhi meeda raasukodaaniki kaadu, charithralo raasukodaaniki.” To get this line in place the writers weaved a story behind the naming of Baadshah.

Sreenu Vytla perfected the art of cocktail mixology. Baadshah is a cocktail of Dookudu and Martin Scorsese's The Departed with some seasoning borrowed from Gudumba Shankar, Ready, and loads of Vytla's other films. The brutal use Christopher Nolan’s Inception will definitely raise our eyebrows. Though it was entertaining for some time, an overdose of it was irritating. The good / bad thing about the movie is the people in Hyderabad who are in search of Baadshah don’t know how he looks like, so he uses this to his advantage and moves around with them. Many actors – Siddharth, Nagababu, Shafi, Rajeev Kanakala – spring as surprises but only for one scene or two. Mahesh Babu’s voice-over stands out as a sore thumb and is grossly wasted.

The technical departments flourished all through the film. Guhan’s cinematography is classy and welcoming. In the background score, Thaman tried to recycle his entire inventory. It shined at times but on the whole failed to create an impact. Except a couple, the other songs failed to register. Varma’s editing is slick and lot of efforts went into CGI and color correction.  

NTR looks stylish as Baadshah, and innocent as N T Rama Rao. The credit goes to the stylist Roopa Vytla and the way NTR carried such a look is mind-blowing. His acting and comedy timing are splendid. The scene where he made references to Siddharth and Dil Raju induced more comic flavor into the film. But his character in the later half is unpalatable, and the Telangana accent pinches you all over. Kajal Agarwal tried to stay dumb and overact at places, and in the process she reprised many of her previous roles.

M S Narayana as director Revenge Nageswara Rao evokes chuckles with his RGV and Twitter antics, but occupies less screen time. Brahmanandam is the saving grace of the film. His portrayal of Padmanabha Simha is a laugh riot and the line “1981 Bobbili Puli nundi 2010 Simha varaku…” is AWE. But the director's effort to touch glory by aping Dookudu climax with comedians turned gory.

Disclaimer: I am not comparing Baadshah with Dookudu, but what can one do when Sreenu Vytla wants to present it in such a way.

Bottom-line: Shatruvuni kottalante kasunte saripodu, content vundaali... Baadshah cinema chudaalante ticket vunte saripodu, opikatho paatu nidhra vacchinaa, neerasam vacchinaa taagadaniki boledantha coffee, appudappudu navvukodaaniki, chiraakupadadaaniki kaastha gundedhairyam kaavali..!!

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

BAADSHAH – Let the guessing game begin!!

Disclaimer:

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This is an attempt by my friend Jayasimha to guess the story of Baadshah from the movie working stills and other promos. He doesn’t intend to hurt anyone associated with this movie. The following story is written purely on his observations. It may be correct or completely wrong. There is some kick in any guessing game so he just gave it a try (based on his freedom of expression)..!!

                                                                                                     

First Half

 

Kajal is a bubbly girl, studying in Spain. She is stalked by NTR and he approaches her on the pretext of collecting donation for a heart foundation (or) informs her that he is very dejected in life.
 

 

NTR acts as if he is very innocent. Vennela Kishore is an assistant to NTR. Kishore carries a diary to note down some info related to NTR(guessed it from the caption on the diary Vennela Kishore was holding -”Do things with passion or not at all”).He carries it in further scenes as well.

http://www.idlebrain.com/movie/photogallery/baadshah6/images/baadshah3.jpg
 

 

After few interacting scenes with Kajal....
 

 

#######SONG 1 ########## <<<Sairo Sairo >>>
 

 

NTR falls in love with Kajal and even runs a drama that he will commit suicide from the top of a mountain as he is distressed in life. She tries to help him and during this process, Kajal likes his innocence and finally she starts loving NTR.
 

 

 

After few scenes...
 

#######SONG 2 ########## <<< Diamond Girl >>>
 

 

During this song,Kajal collects money for the foundation(Save a heart).
 

http://www.idlebrain.com/movie/photogallery/baadshah6/pages/image049.html
 

Before leaving to India,Kajal tells NTR that her father is very strict officer and it is difficult to impress him for their marriage. Then NTR says he has a plan to approach their family.
 

Chandramohan and group enters the family as “The Wedding Crew”, a matrimony service provider to get matches for Kajal who is a daughter of Nasar and Sudha. Nasar is a Police officer(high cadre) and is very health conscious and maintains a Gym inside his house and mandates every member of family to do workout and do exercise daily.
 

Brahmanandam(Jamadagni IPS) is a subordinate/ works with Bramhaji who also works in police dept. Suhasini is either Kajal’s Atta or mother of NTR.
 

M.S plays the character of director Ram Gopal Varma. His mannerisms and the way he says “Twitter lo pettu” and he says “Cherlapalli for story discussion”. All these things confirm that he is imitating RGV!!! He is a relative to Kajal. He would fill the comedy scenes.
 

Navadeep is son of Jayaprakash Reddy. JP is from a political background who has some link up with a local mafia. He approaches Nasar for fixing marriage to his son with Kajal.

 

 

An engagement/marriage function happens in Nasar’s house and NTR would play some drama and stops this
 

After few scenes...
 

#######SONG 3 ########## <<< Bantipoola Janaki >>>
 

In the interval Bang, NTR would be revealed as Baadshah.
 

 

Second Half

 

Baadshah’s Flashback narration to Kajal:
 

Pradeep Rawat is a Mafia member working from India.Kelly Dorji is the main Mafia Don working from Bangkok. Ashish vidyarthi is a weapon dealer. Ajay and Mukesh Rushi are the members working with NTR(Baadshah),who is strong & powerful leader who fights with Mafia.
 

The entire flashback story runs in “Bangkok”( Pls see the first teaser of Baadshah. When NTR says “Baadshah decide aithe War one side ayipodhi”, in the back ground you can see “No. 15 PORT AUTHORITY OF TH” only. From my guess it is Thailand. Bangkok has the biggest sea port in Thailand. PAT stands for Port Authority of Thailand. Hence the story runs in Bangkok!!)
 

The story of Mafia runs based on smuggling in Sea port and Baadshah approves all deals.
 

 

#######SONG 4 ########## <<< Baadshah Title>>>

Followed by some scenes related to Casino business and illegal weapon deals.Kelly takes up a deal to dump industrial waste in ocean but Baadshah won’t agree and warns him.He then sends the container to India. Sayaji Shinde is an officer working in shipyard and takes up this case. He is also a friend of Nasar.
 

There are some similarities in the following photos so we can expect jr NTR doing some scenes related to legendary NTR in the second half.

 



Baadshah would spoil their plan related to a container shipped to India and this would not go well with Kelly. He then attacks his brother(Siddharth) in India with a bomb and parallely kills Ajay, Mukesh in Bangkok and then goes underground without any trace. All the information related to Kelly would be available with Nasar and his subordinates. To gather the info about Kelly, NTR approaches Kajal and with her support he enters the family.
 

After revealing the flashback, NTR conveys that he truly loves Kajal and she is convinced.
 

NTR uses Bramhanandam to get some clues related to Kelly’s info. He uses some hypnotism kinda machine to get some info. He lures that he take him to Kanakam in a dream.

#######SONG 5 ########## <<< Welcome Kanakam>>>

 

Nasar family agrees for the marriage after knowing the truth and then follows the last song.

 

#######SONG 6 ########## <<< Rangoli Rangoli>>>

 

NTR gets to know the whereabouts of Kelly and the climax fight takes place in the regular Aluminum Factory in Gachibowli.

 

There could be surprise element revealing about Navadeep in the climax.NTR beats the mafia goons to the core and takes his revenge.

                                                                The End!!

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P.S: There are some lose ends to what I wrote but I am sure there would some similarities to actual story. Also in screenplay, they could have changed the first half (written above) to second half(revealing Baadshah in the starting). Lets see the result on April 5th.!!!

                                       

References:

1.   http://www.idlebrain.com/movie/photogallery/baadshah6/index.html

2.   http://gallery.greatandhra.com/view_album.php?a=a&gid=6675

3.   http://www.youtube.com/watch?v=7rzLK8_u-eQ

4.   http://www.youtube.com/watch?v=pdwZfMi_OQg

 

About the author:

Jayasimha daylights as a Telecom Analyst and moonlights as a Writing Catalyst.

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NTR’s Baadshah – Power-packed Dialogues

1) Baadshah decide ayithe war one side avuthaadi

బాద్-షా డిసైడ్ అయితే వార్ వన్ సైడ్ అవుతాది

2) Brathakalante Baadshah Kinda vundali, Chaavalante Baadshah Mundu vundali

బ్రతకాలంటే బాద్-షా కిందుండాలి, చావాలంతే బాద్-షా ముందుండాలి

3) Bayapadevadu Baanisa, Bayapettevaadu Baadshah

భయపడేవాడు బానిస, భయపెట్టేవాడు భాద్-షా

4) Ichina Maata, Cheppina Date, Vesina Adugu venakki thisukovadam Baadshah ki theliyadu

ఇచ్చిన మాట, చెప్పిన డేటు, వేసిన అడుగు వెనక్కి తీసుకోవడం బాద్-షాకి తెలియదు

5) Shatruvu ni kottalante kasi vunte saripodu content vundaali

శత్రువుని కొట్టాలంటే కసివుంటే సరిపోదు కంటెంట్ వుండాలి

6) Baadshah ni touch chesthe sound solid ga vuntaadi

బాద్-షా ని టచ్ చెస్తే సౌండ్ సాలిడ్-గా వుంటాది

7) Shatruvulaki Shershah, Snehaaniki Baanisa, State ki Baadshah

శత్రువులకి షేర్-షా, స్నేహానికి బానిస, స్తేట్-కి బాద్-షా

8) Kalikaalamlo undaalani aasapadithe vundu, kaani kailaasam varaku vellalante naatho pettuko

కలికాలంలో ఉండాలని ఆసపడితే వుండు, కాని కైలాసం వరకు వెల్లాలంటే నాతో పెట్టుకో