RRR has been in the news since the time it was announced and rightly so as it is not everyday you see two superstars of Telugu industry coming together. Facing numerous delays due to the pandemic the film has finally hit the theatres today.Continue reading “RRR (2022) Telugu Movie Review: Andhra Extrrravaganza”
In films from southern India, especially Tamil and Telugu industry, the film revolves around the lead actor. So whenever a film is announced without a title, the film is generally referred by the name of the lead actor and the forthcoming number of his (as per his filmography). Actors pay an important attention to milestone films likes their 25th or 50th and so on. Continue reading “V (2020) Telugu Movie Review: Bullets Misfired”
Cast: Sidhu Jonnalegadda, Shradda Srinath, Shalini Vadnikatti, Seerat Kapoor , Jhansi and Sampath Raj
Directed by Ravikanth Perepu
Music by Sricharan Pakala
Streaming now on Netflix
Krishna and his Leela, the latest Telugu OTT offering, presented by Rana Daggubati, is a breezy rom com that is a essentially an update on the age-old ‘one guy-two women’ staple . Though there is certainly no reinventing of the wheel here, director Ravikanth Perepu does put in a neat little job of giving some relatability and rootedness to the whole tricky subject.
Sidhu Jonnalegadda, who is also a co-writer on the film, is introduced in one of those typical cinematic ‘jilted lover boy’ fashions – with the trademark unshaven beard, pondering over life in some picturesque corners of the country. And knowing Telugu cinema, we may easily write offthe rest of the film as one suffering from the Arjun Reddy hangover. But breaking the fourth wall, Sidhu’s character Krishna assures us this could be lighter by asking us not to laugh at his emotional tales. And we pretty get the mood of the film from thereon.
Krishna does not waste time and gets to the heartbreak instantly. We are immediately told how his girlfriend Satya dumps him when she believes the relationship is not going anywhere. The breakup leaves Krishna completely broken, spending the rest of the days crying and sobbing away. It takes a few good time before he decides he is over all these girls and relationship dramas.
But Krishna cannot be kept away from his Leelas for long, and it is no surprise when he ends up immediately falling head over heels over a junior he meets at college, Radha.
As Radha claims, Krishna does not tick off any of her boyfriend material lists. But she still ends up liking the guy and Krishna would believe everything is finally smooth sailing in his love life. However then comes the hurdle, with a job offering in Bangalore. Having to move out from Vizag, he assures an unsure Radha that they will get this long-distance working.
But things take an interesting turn when in Bangalore, where he runs into his ex-girlfriend Satya. If that is not spice enough, add an attractive roommate (Seerat Kapoor) to the mix. And you know you are getting a perfect recipe for trouble in Sidhu’s paradise. The rest of the film has Sidhu trying to figure out the Dos and Donts of relationships. The only question is will it be too late by the time he does the figuring out.
The biggest strength of the movie undoubtedly lies in its restrained writing. At several instances, there is an opportunity to go too melodramatic or score some each cheap laughs, except for a few initial portions involving Viva Harsha. But the writing holds back and avoids falling into the usual easy trappings of Telegu commercial cinema. The characters are certainly well written, especially the women and therefore keeps the proceedings refreshingly relatable and real.
Performances also immensely helps here. After all, it is vital that the audience needs to develop a rooting interest in the characters for this set up to work. And to the credit of the writing team and the trio of Sidhu, Shradda and Shalini, the manage to nail that factor.Even the fourth wall breaking which may seem gimmicky at first, works well in opening frank one way conversation between the audience and the main character.
Lead man Sidhu masterfully steers his complicated character convincingly through the whole messy deal. Shradda as usual impresses effortlessly, while Shalini Vadnikatti though good, finds herself a little short when it comes to the emotionally heavy sequences. Seerat Kapoor chips in just fine with Rukhsar, a very interestingly written character that in my opinion, deserved a little more space and voice in the screenplay. Sampath and Jhansi plays the roles of Sidhu’s parents in graceful, convincing manner, with a delicately written scene showing their dynamics in a mature, no-frills manner. It was also an appreciable gesture of having the dubbing artists names alongside the actresses in the title credits.
The movie just about loses steam even with its mere 120-minute mark as the screenplay goes back and forth between the Leelas of this Krishna’s life, constantly shuffling between Vizag and Bangalore with a little Coorg detour. But Ravikanth keeps things light and constantly moving. And though the performance manages to sell the lead character’s predicament, the final speech disappointingly falls flat sticking out like a weak excuse. And also time writers realise that this lazy act of transforming their characters into overnight authors is getting a little too stale.
But these are minor quibbles in what is essentially a welcome addition to an otherwise ‘done-to-death’ romcom formula. Refreshing and sure-footed, it is worth spending a couple of hours checking out Krishna and his Leela, for an easy OTT watch.
– Joxily John
If you are a follower of Tamil and Telugu commercial films, you would have realized long ago that one of the pet topics of their filmmakers is that surrounding farmers and their associated plights. The recent Telugu film Bheeshma also follows the oft-repeated template with the hero fulfilling the dream or wish of another person, and in the process he gets transformed himself.Continue reading “Bheeshma (2020) Telugu : A Tale of an Organic Farmer and Meme Creator”
Trivikram Srinivas is considered to one of the star writer-directors in the Telugu film industry, he has an impeccable filmography. I was excited to watch his new Sankranthi outing, Ala Vaikunthapurramloo, like many others. It is his return to his territory of film making. The movie begins on a dark note, with an exchange of 2 new born kids. But the twist here is that the kids are not exchanged for the reason of their safety but out of jealousy and greed. Trivikram continues with his favourite theme of sourcing from mythology and including the idea of justice and revenge.Continue reading “Ala Vaikunthapurramuloo (2020) Telugu Movie Review: A Trivikram Mythology”
It has been a while since I have written here. Our site had become dormant of sorts of late and sadly we even recently lost our domain to a cyber squatter and we have now moved to madaboutmoviez.in. Anyway, it is time to restart from scratch of sorts and be back in full force again.Continue reading “Dear Comrade Movie Review: Women in the World of Men”
There is a very fundamental difference between Hindi films and South (I mostly mean Tamil/Telugu) films. South films are more connected to the id (unconscious driving force to fulfill basic urges). They are more upfront and honest about sexuality. I am not talking about the obvious sexual expression of love-making, making out or talking about sex. Because the new era Hindi movie characters do these things very flippantly which makes it damn routine (maybe Hindi films have grown past it and I still haven’t). The south movies on the other hand, do not show any action, but always carry a sexual charge, never failing to acknowledge the sexual tension. Of course, they make a big deal out of it, but that’s what most of us do in real life. A very simple innocuous example would be the first physical contact between boy and girl. It does not carry much weight nowadays in Hindi films. However, a South film treats it as a dramatic beat with slow motion, music drowning out etc.
I start conversation on Arjun Reddy with this is because Arjun Reddy clearly carries the burden of sexual taboo, and it stands right at the cusp of the north-south mainstream film divide. It tries hard to handle sexual expression the Hindi film way, but is held back by the weight of the milieu. It actively tries to rescue kissing from the burden of social taboo, by having the lead pair kiss in every scene (even on poster!). I could clearly see how hard it was trying to normalize kissing and bring it to the level of a hug. Whether it succeeds or not completely depends on the eyes of the beholder. But the rebellion has a candor and naivety that is difficult not to empathize with.
Arjun Reddy has obvious similarities to Dev D. Where Dev D is more indivualistic in its approach, Arjun Reddy approaches its subject from a collectivistic cultural perspective. Arjun Reddy (titular character) is almost a force of nature, which rips apart this collectivism and debunks politically correct scales of behavior. He stands out as a raging bull. He treasures id satisfaction over any other reward. He sees himself as a superior being trapped in the ways of the civilized world. When he is denied the thing he feels he has an indisputable right on, hell breaks loose and he just cannot accept this with his chin up. It is a failure of massive proportion, which sends him on a trip of pain and RAGE. He is angry on not only himself, but also the people around who denied him his right and now asking him to move on. It seems unacceptable to him. Still he is never able to tear himself away from the people. There is a constant intrusion of the outside world into his space of manic rage. Sometimes it mitigates, sometimes it aggravates. He has to eventually make peace with the outside world.
Earlier I compared Arjun Reddy (the character) to a raging bull. Along with the obvious metaphorical meaning of it, there is a strong sense of animalistic gratification and an archetypal alpha animal ruling the jungle, throughout the movie. The most in-your-face example is a stunningly staged sequence where all the fresher girls (first year) line up for breakfast in a serpentine queue around a bench, where Arjun Reddy is seated behaving all alpha (posturing, smoking). In slow motion, we see him checking out each girl, making eye contact with everyone. Then finally fixing his eyes on one of them and following her throughout the moving line. To today’s progressive eyes this might feel disgusting, but we have all been to college, where world does not confirm to today’s politically correct standards. There are obviously guys trying to score, and there is a prevailing hierarchy dominated by seniors who feel entitled to impose them on the freshers. You might ask, why glorify it? Same reason violence is in movies. Movies do play a role in giving a visual to fantasies. Good, bad, ugly. Hyper masculinity connects viscerally with the audience, both men and women.
Reactionary digressions aside, this scene – set to the beautiful semi-classical ‘Madhuram’ – really sets up the movie and the character on path to the sublime, destruction and redemption. The movie’s absolute single-minded focus on the protagonist almost builds him up as a fallen GOD. Arjun Reddy is a genius (college topper and top surgeon) which we all wish we were. He acts out on all impulses, good bad and ugly, which we secretly wish we could. As we saw Khaleesi – another victim of God complex – lighting up Kings landing, here our guy lights up himself with unlimited drugs, cigarettes and alcohol, ultimately leading to his fall. It all catches up when he botches up a surgery in drunk stupor. He truly falls down in his own eyes, which is very important, because until then it really does not matter to him what the world around him talks or thinks about him, he feels he is a GOD. Interestingly, his progressive ideas of caste-less society, individual freedom etc. add up building the god complex within. He gives sermons to his best friend explaining why no one around understands him, and are trying to control his fate. Many of these things are not new to Indian cinema, numerous versions of Devdas and more importantly the critical darling Dev D. I think what sets Arjun Reddy apart is the doggedness of staying away from self-pity. Anger is something that he uses frequently to shield himself from pity. Until the surgery accident, he does not allow us to feel any pity or sympathy for him, which makes it difficult for the audience.
This brings us to the climax. Devdas does not get his girl, nor does Dev D (I know he finds redemption with Chandramukhi instead). But our man Arjun Reddy gets her, which many commentators took objection with. ‘He is getting away with all the bad behavior and also getting the girl?’ However, it is a terribly heart-breaking moment when he finally meets her. While Arjun Reddy was drowning his sorrows in style, Preethi is the one who truly suffers, but maintaining dignity. She runs away from her wedding, realizes she is pregnant, and stays a solitary life trying to give stability for the baby in her womb. Suddenly the nature’s inequality hits us. Sex is always without consequences for the man, but it could change a woman’s life forever. It is truly a humbling end for Arjun, as well as for us.
Addendum: I did not feel the need talk about the woman’s perspective, because I thought her motivations, though not underlined, were pretty self-evident. But the latest uproar in the hind film critic fraternity requires me to respond to some concerns (believe me I’m not strawman-ing their concerns)
- Is she really in love or is she hostage in the relationship (Stockholm syndrome)? At the start of the relationship there are circumstances which could pressurize the girl into consent (seniors pressure, whole campus watching), but on the other hand some perks (rise in hierarchy by dating college stud, campus protection) too. And finally primitive attraction to the alpha male, and how he is mild and tamed with her. So I would say it is a mixture of all this, which is honestly depicted.
- Why does she accept him? Deep inside, she would have of course wanted the guy to show remorse and ask her to come back, right? If you feel her self-respect should have overridden that, you need to understand that, she does get the moral victory over him at the end. That should be enough to assuage her hurt self-respect.
- She has no agency; she is always a victim of her environment, always under pressure from either lover or parents. Agree that she is the victim of her environment, but why do you discount her brave decision (agency) to run away from her marriage and raise a child on her own? Regarding parental pressure, of course in some areas like marriage, women are more restricted. It is a cultural thing. The woman has to leave comfort and venture into the unknown. So obviously, parents get protective and hence more restrictive. Do you want the film to denounce it? If you look closely, it does, emphatically! Arjun Reddy throughout his phase of pain and rage gives sermons about how this society holds back individuals from attaining their happiness.
What defines a leader? Is it ascertained by how he takes care of his people? Is it based on how he conducts itself? Can it be established by how he makes a decision?Continue reading “Bharat Ane Nenu Movie Review: Our Dear Leader”
Rajamouli’s two-part epic film – Baahubali broke many-a-record in Indian film industry. So much is written and said about the film – its cast, storyline, special visual effects, settings, dialogue, music, costumes, stunts, and more than all about the amount spent on the movie and the records that they broke in box-office collections. The use of new technologies has no doubt enhanced the quality and the visual impact of the film. But what appears to have touched the hearts of the viewers the most is the art of narrating the story. Millions of viewers queued up in the theatres to find satisfactory answer to the one question that agitated their minds since the release of the first part of Baahubali two years back. It is enough to view the film once to get the answer for the question, “Why did Kattappa kill Baahubali?”. More than the answer to the question, the film attracted repeat audience and sustained the viewership mostly because of the emotions that the lead characters in the film could arouse. Continue reading “Re-presenting The Epic Characters in the Film Franchise, Baahubali”