Main Cast: Kangana Ranaut, Anupam Kher, Shreyas Talpade, and Mahima Chaudhry
Director: Kangana Ranaut
Producer: Kangana Ranaut
Music Director: GV Prakash Kumar
Cinematography: Tetsuo Nagatas
Rating: 3/5
The recent political movies from Bollywood have often bordered on being both tacky and amateurish. They often end up glorifying the current ruling party while showcasing the Opposition Congress as either fools or extreme villains.
With Kangana being a BJP MP, her political ideology is well-known. Emergency directed and written by Kangana has had a long battle before its eventual release.
The censor board had asked for numerous cuts. Recently even the Sikh organizations wanted a ban on it.
Synopsis
Setting aside the controversies, Emergency offers a fairly balanced portrayal of the life and times of Indira Gandhi.
Kangana Ranaut presents the controversial prime minister sometimes as a villain who got blinded by her son’s love doing terrible things. At the same time, the movie showcases the emotional turmoil that Indira went through, we see her getting haunted by her image in Shakespearean style.
Emergency begins with glimpses of Indira’s childhood; the story spans her tumultuous journey till the end highlighting the various trials and tribulations like her complex relationships with her father and the first Prime Minister Jawaharlal Nehru, as well as her husband Feroze Gandhi.
Portrayal of Emergency
On the sets of ‘Emergency’. (Supplied)
The best part of the Kangana directorial is undoubtedly the portrayal of events leading up to the extremely harrowing period of emergency.
Kangana showcases the very dangerous consequences of unchecked power. Political leaders are locked up and all the dissenters of Indira Gandhi are simply labelled as “anti-national”.
The media, especially the newspapers, supposed to represent the voice of the common man also suffered badly due to Indira Gandhi’s dictatorial ways. The discerning audience can definitely draw a parallel to today’s environment.
In the present times, anyone who raises their voice against Hindutva and BJP is labelled as anti-national and often put in prison for expressing their opinions.
Of course, Kangana wouldn’t have designed these portions keeping this aspect in mind, still, for those who can look beyond the obvious the parallels are very apparent.
Best moments
The dynamics between Indira and Sanjay also give the movie some of its best moments. Indira has a very soft corner for her son often overlooking his bratish ways. This unabashed love for the son makes her blind towards his deviousness.
Kangana Ranaut in ‘Emergency’. (X)
The movie portrays Sanjay Gandhi as the major force behind the excessive brutality of the emergency. He was always confident about having his mother’s support. However, this changes when Indira develops a conscience deciding to take things under her control.
There is a hugely poignant moment after the death of Sanjay Gandhi. Many common people are seen celebrating the death of this spoilt brat linking him to a Raavan. Indira has a major breakdown in the car repenting about the way she has brought up her son.
A major problem with Emergency is its docu-drama feel. At certain points, the movie feels like a rushed narration of the major events in Indira Gandhi’s life.
Indira Gandhi’s return to power and the entire Blue Star operation leading to her being gunned down suffer on the account of an episodic feel.
These parts needed better layering for the viewers to develop a more emotional connection with the protagonist.
Kangana as Indira Gandhi
A poster of the film ‘Emergency’. (X)
Kangana Ranaut as Indira Gandhi takes a while to get used to. Her initial speeches in the parliament suffer on account of her squeaky voice however as the movie progresses Kangana Ranaut also becomes better.
The actress particularly shines in the sequences showcasing Indira Gandhi’s emotional turmoil, the scenes where she is haunted by her fate and later expresses remorse have been well portrayed by the actor.
For some, the redemption arc may come across as being calculative to avoid further backlash, still the way these portions have been written and performed is wonderful to watch.
Talking about other actors, Vishak Nair as Sanjay Gandhi is also terrific perfectly portraying the reckless nature of Sanjay. He imbibes Sanjay’s ruthlessness wonderfully making the viewers detest him.
Seniors Anupam Kher and the late Satish Kaushik make their presence amply felt too, as a moral counterpoint to Indira Gandhi. They play Jayaprakash Narayan and Jagjvan Ram respectively.
The dashing Milind Sonam as the famous field Marshal Sam Manekshaw also gives a good account of Manekshaw. Lastly, Shreyas Talpade as Advani also brings a certain authenticity.
Technical aspects
The cinematography of Tuesto Nagata also deserves a special mention. His work particularly in the disturbing emergency is outstanding. Through his lens, Tuesto Nagata does a very fine job of capturing the immense turmoil that the nation had gone through.
The songs come across as more of unwanted guests. The political leaders lip-syncing songs come across as unnecessary; still, “Ae Meri Jaan” sung by the legendary Hariharan makes for a soothing listen and a good watch.
Final take
Keeping aside the rushed storytelling and its docu-drama feel, Emergency makes for a good watch provided you are into political dramas.
(Views expressed here are personal, edited by Sumavarsha)
‘Sankranthiki Vasthunam’ is a wholesome entertainer particularly for those likeVenkatesh’s brand of comic timing and Anil Ravipudi’s whacky storytelling.
Main Cast: Venkatesh, Aishwarya Rajesh, Meenakshi Chaudhary, and Upendra Limaye
Director: Anil Ravipudi
Producer: Shirish
Music Director: Bheems Ceciroleo
Cinematography: Sameer Reddy
Rating: 3.5/5
In a short span of time, Anil Ravipudi has established himself as a successful commercial director. His stories rely more on punch lines and outlandish humour rather than a coherent storyline.
However, the conviction with which he narrates his stories and the actor’s commitment makes them hugely enjoyable. Very good examples are F2: Fun and Frustration (2019) and its sequel F3 (2022).
The director also proved his versatility with the action drama Bhagavant Kesari in 2023. He did a fine job in merging Nandamuri Balakrishna’s stardom with strong beats of women empowerment.
Synopsis
With Sankranthiki Vasthunam, the director returns to familiar territory. A whacky comedy with elements of family drama, the storyline isn’t high on logic, and often borders on being farcical, but what holds the movie together majorly is Venkatesh’s brilliant act coupled with Anil Ravipudi’s narration.
Sankranthiki Vasthunam begins off with a kidnap scenario. A CEO of the world’s number one tech company Aakella (Srinivas Avasarala) is kidnapped on his visit to India. The government has a big responsibility to bring Aakella back.
Venkatesh plays suspended officer YD Raju, extremely well known for his notorious handling of criminals, shooting them at his will.
Due to the numerous complaints of a human rights organization YD Raju is suspended. Meenakshi Chaudhary plays VD Raju’s ex-girlfriend and a police officer herself. Meenakshi and YD Raju had a bitter break-up.
YD Raju makes a promise not to marry anyone else but it turns out that he is a happily married man with Bhagyalakshmi (Aishwarya Rajesh). They have four kids, among the kids, Bheemla Revanth Pavan Sai Subhash is the most important one.
Meenakshi comes to VD Raju’s place to seek help from him and also a certain hope of reconnecting but is thoroughly shocked to know that he has moved on. The rest of the story focuses on the tangle that VD Raju finds himself in and how Meenakshi and Co are able to free Aakella with his help. There is a small subplot as well connected to the importance of respecting teachers.
Strong aspects
‘Sankranthiki Vasthunam’ is a comedy entertainer. (X)
A strong aspect of Sankranthiki Vasthunam is undoubtedly the characterization of Venkatesh, coupled with his wonderful act. The senior actor isn’t new to the genre of humour.
The actor’s comic timing in movies like Malliswari (2004), F2 and F3 along with Nuvvu Naaku Nachav (2001) has brought the house down raising many chuckles. Still, director Anil Ravipudi brings out a different side to his comedy.
As a man caught between his ex and his wife, while handling the important task at hand Venkatesh is simply brilliant. He brings the house down on many occasions with his expressions and lifts many of the movie’s comic moments with his wonderful sense of timing.
Performances
Venkatesh portrays a loving family man, an ex-lover and a smart cop in a wonderful manner. A particular mention must be of the pre-climax fight when his character lets out all the pent-up angst. There is a super mix of action and comedy thoroughly entertaining the viewers.
His chemistry with both Aishwarya Rajesh and Meenakshi Chaudhary is the icing on the cake. The scenes involving a trio are super fun to watch as well.
Aishwarya Rajesh as the jealous yet lovable wife does a great job too. There is a certain naivety to Bhagyalakshmi which Aishwarya pulls off wonderfully. Aishwarya’s portrayal of jealousy and insecurity whenever Meenakshi gets close to her husband is brilliant to watch.
Meenakshi Chaudhary as the cop and an ex-girlfriend also gives a good account of herself. After playing the roles of housewife in Lucky Baskhar and Matka, this marks a different terrain for her and the actress more than holds her own opposite Venkatesh and Aishwarya Rajesh.
Special mention must also be made of Bheemla Revanth Pavan. As a boisterous kid with OTT-inspired curses, the child actor does a very good job. The chemistry between Venkatesh and Bheemla Revanth adds to the fun element.
Upender Limaye plays an eccentric cop with a high pitch. His scenes often border on being loud still it goes with the movie’s nature.
Technical aspects
Bheems Ceciroleo’s music is another asset for the movie with Ramana Gogula’s “Godari Gattu” being a major highlight. Apart from that, the song “Meenu” showcasing YD Raju and Meenakshi’s romantic past is also a fun number.
Talking about the movie’s flaws there is a shabbily written subplot about respecting and remembering your teachers. The message behind this is noble as teachers are an important pillar of society and worthy of respect, however, the way it has been integrated is patchy.
Also, the second half has moments of repetitiveness in terms of humour. Some sequences with farcical humour test the viewer’s patience.
Final take
To sum it up Sankranthiki Vasthunam is a perfect watch for those looking for light-hearted entertainment. Fans of Anil Ravipudi and Venkatesh will have a blast.
(Views expressed here are personal, edited by Sumavarsha Kandula)
Bobby Kolli’s ‘Daaku Maharaaj’ doesn’t break any grounds in terms of the story. It is a tried and tested good versus evil saga somewhat elevated by Balakrishna’s star power.
Main Cast: Nandamuri Balakrishna, Bobby Deol, Shraddha Srinath, Pragya Jaiswal, and Chandini Chowdary
Director: Bobby Kolli
Producer: Suryadevara Naga Vamsi
Music Director: S Thaman
Cinematography: Vijay Kartik Kannan
Rating: 2.5/5
Bobby Kolli’s Daaku Maharaaj plays out like an unabashed love letter to the crazy fan following of Nandamuri Balakrishna.
Balakrishna’s connection with the masses is undeniable, regardless of whether you like the actor or not.
Bobby Kolli uses the connection to the hilt to keep the viewers invested.
Synopsis
In simple terms, the story of Daaku Maharaaj focuses on a civil engineer turned vigilante. The movie initially presents Balakrishna as Nanaji, a driver. However, Nanaji’s real intentions are different.
His true mission is to protect the granddaughter of the tea estate. The family is under threat from MLA Trimurthulu Naidu (Ravi Kishan).
Nanaji quietly eliminates the gangs related to Trimurthulu Naidu. Things take a dramatic turn when Nanaji’s real identity comes out.
Balwant Singh Thakur (Bobby Deol) is informed of Daaku Maharaaj’s reappearance—the second half shifts to an origin story.
Before becoming a vigilante Balakrishna’s Sitharam was an upright civil engineer. Sitharam’s aim was to bring water to the withered area of Sonapur in Madhya Pradesh. This area is ruled by the demonic family of Thakurs.
Bobby Deol’s Balwant Singh Thakur is the youngest among the brothers. The rest of the story focuses on the transformation of Sitharam and his connection with the granddaughter of the tea estate.
A showreel for Balakrishna
‘Daaku Maharaaj’ is an action erntertainer. (X)
It goes without saying that Daaku Maharaaj is mostly a showreel for Nandamuri Balakrishna. The actor’s screen presence coupled with his histrionics is what makes the movie watchable even when the plot enters into an utterly mundane zone.
The actor’s delivery of punch lines is definitely something that hardcore fans will enjoy. He does a very good job of portraying Sitharam’s transition from an honest civil servant wanting to solve the problems of Sonapur through government methods into a vigilante.
A scene which deserves a particular mention is a breakdown portion in the flashback involving the death of a girl. The quire in the voice coupled with the tremble as he talks about the horrific death brings out the actor in Balakrishna.
Both Shraddha Srinath and Pragya Jaiswal make their entry in the second half as the spouses of Bobby Deol and Balakrishna respectively.
Both of them make their presence amply felt particularly Shraddha Srinath as the honest collector who goes against her husband. An emotional sequence between Shraddha and Balakrishna before the death of her character is hugely poignant.
Bobby Deol as the thoroughly aristocratic Thakur with zero emotions makes for a suitably cruel villain. He gets the patriarchal nature of an upper caste bigot to perfection, his confrontation scenes with Balakrishna like the pre-climax sequence are deadly.
Flaws
A major problem with Daaku Maharaaj is its tried and tested formula of good versus evil. The movie comes with zero surprises for those who have grown up on commercial Telugu cinema. The beats of the story become very predictable.
The movie also suffers on account of too much fan worship. The fan service gets nauseating after a point giving little enjoyment for the neutral audiences.
Daaku Maharaaj also suffers from the mostly flat characterizations of the supporting cast. Able comic actors like Satya and VTV Ganesh are given very little to play with. The likes of Shine Tom Chacko as a wacky cop on the hunt of the Daaku start off promisingly but end up being majorly sidelined as the movie becomes a celebration of Balakrishna’s aura.
Technical aspects
Apart from Balakrishna’s performance, Vijay Kartik’s cinematography is also of a good standard, the Chambal portions of the second half showcase his prowess as a cinematographer.
Thaman S’s songs don’t help the movie much but his background score is pulsating, it perfectly complements the cinematography of Vijay Kartik in the Chambal portions.
Final take
To sum it up Daaku Maharaaj is strictly for the hard-core Balakrishna admirers, the ones who worship the actor and watch movies only for him.
(Views expressed here are personal, edited by Sumavarsha Kandula)
Creator and director Vikramaditya Motwane presents a very gritty picture of the deeply horrifying situations where it is very difficult for a prisoner to reform.
Black Warrant (Hindi), 10-01-2025, Action, Drama, 7 episodes16+, OTT
Main Cast: Zahan Kapoor, Rahul Bhat, Paramvir Singh Cheema, and Anurag Thakur
Producer: Andolan Films, Applause Entertainment, and Confluence Media
Music Director: Ajay Jayanthi
Cinematography: Saumyananda Sahi
Rating: 4/5
For those who are not aware Vikramaditya Motwane’s latest work is based on the novel of the same name Black Warrant.
It was written by a jailer about the notorious functioning of the Tihar Jail set in the 80’s.
The novel explores the intricate power structure and the various hierarchies based on both caste and religion.
Synopsis
In this web series adaption of the novel Zahan Kapoor plays Sunil Gupta, a shy and confused man starting off as a meek person who eventually grows in confidence and becomes a determined jailer wanting to bring reform. And he eventually does succeed as well.
Sunil Gupta is credited with starting Tihar’s first legal aid cell. The series showcases the various experiences of Sunil starting from his meeting with the enigmatic Charles Sobharaj (a charming Siddhant Gupta).
Then you have also got the killers of PM Indira Gandhi among many others. Rahul Bhatt plays the morally grey deputy jailer Tomar. The other important characters are played by Paramveer Cheema and Anurag Thakur.
Strengths of the series
Zahan Kapoor in ‘Black Warrant’. (X)
A strong aspect of Black Warrant is the authentic depiction of the prison world with no artificiality. The division of the prisoners based on their caste, religion and money has come out strongly in numerous scenes.
The operation of the numerous gangs within the prison makes the viewers think about the flawed system where there isn’t much scope for reform. The web series also touches upon the plight of innocent prisoners, the category who are a victim of some malicious police officers.
Black Warrant also dwells on how the prisoners are often viewed as inhuman by the jail authorities. There is a brilliant scene involving a research scholar. This person comes to Tihar jail to get a psychological insight into the minds of prisoners. As a response an inmate says “Why do you want to do research on people like us struck in a cage are we animals?”
To this, the character says, “I am researching to prove you people are not animals.” This perfectly sums up the general attitude of the jail authorities. There is a deeply disturbing portion when Sunil along with his colleagues finds out about a senior jailor making money by depriving the prisoners of their basic needs.
Strong characterisation
Another big strength of Black Warrant is the characterization of Zahan Kapoor. The character of Sunil starts off as a vulnerable young man who in no way looks like a tough jailor capable of controlling the prison inmates but as the series progresses we see Sunil getting more confident.
‘Black Warrant’ is a jail drama. (X)
There is a palpable determination in the way he wants to bring out prison reforms. Zahan does a very good job of bringing out these nuances. The young actor proves that he is truly worthy of the illustrious Kapoor lineage.
The web series also dwells on how the lives of Jailers aren’t very glamorous at least back in the 80’s. There is an important scene where Sunil’s father tells his son to not reveal his profession while seeing a prospective bride, however, Sunil doesn’t follow his father’s advice, instead, he talks about his profession with absolute honesty.
Black Warrant also works due to the way the other important characters have been written with utmost care. Both Anurag Thakur and Paramveer Cheema also have solid graphs. The camaraderie shared between the characters isn’t hammered in; still, it works strong when required.
Many of the subplots in the web series are inspired by real-life incidents from the times of Indira Gandhi’s government. Certain capital punishments reflect deeply entranced class and casteist biases.
Then you also have the prisoners belonging to a more affluent part of the prison. A serial killer is seen roaming free; there is also an instigator of murder getting plenty of time to have romantic meetings. Apart from these you also have the arrest of JNU Students. There is a hilarious scene exposing the incompetent nature of jail staff.
Technical aspects and performances
Saumyananda Sahi’s cinematography is another major plus. He does a very good in recreating both the 80’s atmosphere and also the grittiness of the prison portions.
Apart from Zahan Kapoor’s breakthrough performance the show also benefits from Rahul Bhatt’s stellar turn. As a mostly self-serving boss with moments of genuine empathy for his fellow men Rahul Bhatt is simply fantastic.
Sidhant Gupta in the role of Charles Sobhraj has brief screen time but the young actor makes his presence amply felt. He perfectly captures the body language starting from the accented dialogue delivery.
The women characters in Black Warrant are mostly relegated to the background except for Rajshri Deshpande— as the firebrand reporter. This is only the slight flaw of the web series.
Final take
Overall Black Warrant is a must-watch for those who like gritty stories based on real-life incidents.
(Views expressed here are personal, edited by Sumavarsha)
On more than one occasion the movie feels like an extension of the actor’s real life messiah image. The best part of Fateh is how Sonu Sood presents the vast network of cyber crime targetting the lower section of the society which are more gullible.
Fateh (Hindi), 10-01-2025,Action, Drama,2 hours 10 minutes, U/ A, Theatre
Main Cast: Sonu Sood, Naseeruddin Shah, Vijay Raaz, and Jacqueline Fernandez
Director: Sonu Sood
Producer: Sonali Sood and Umesh KR Bhansal
Music Director: John Stewart Eduri
Cinematography: Vincenzo Condorelli
Rating: 3.5/5
Online scamming is a very prevalent issue in today’s times. A major reason being the rapid growth of technology.
The advent of cell phones and the things related to them have had advantages and disadvantages in equal numbers. Sonu Sood’s directorial Fateh focuses on the huge network of cybercrime which is leading to many deaths and families falling apart.
This topic is presented in the form of a hardcore action movie, with elements of Hollywood action movies and Korean slashers.
Synopsis
Sonu Sood plays the titular role of Fateh- a former agent who worked as a contract killer for the government.
Now he is leading a quiet life in a place called Monga set in Punjab. However, Fateh is forced to come out of retirement when a girl close to him goes missing.
This girl was trying to unravel some important truths about fake loans and people being harassed to pay back the money with huge interest.
Fateh Singh goes to Delhi to unravel the mystery but the web turns out to be much more complicated than what he had imagined. The main figure behind the dangerous global scam is Raza ( Naseeruddin Shah). Aiding Raza is Vijay Raaz’s Satya Prakash and Dibyendu Bhattacharya’s Nishit Biswas.
What works and what doesn’t
‘Fateh’ is an action thriller. (X)
The best part of Fateh is how Sonu Sood draws the viewers into the extremely dangerous network of cybercrime. How Raza and co make a certain section of people an easy target and how these end up believing these fake loans sends a chill.
Apart from the fake loans angle the movie also touches upon hacking into other people’s systems and the current trend of deepfake. At one point Sonu Sood’s face is swapped giving the impression that he is the man behind the crimes going on.
The movie also works because of the fast-paced narration with no unnecessary distractions. The love angle between Jacqueline’s Khushi is understated and more importantly, it has been smartly integrated. Jacqueline’s character is a hacker herself but an ethical one.
She plays an important role in aiding Fateh. In this process, you have some much-needed light moments.
Coming to the flaws, Fateh has a paper-thin story, and as viewers, you can guess where the proceedings are headed after a point. The overdose of blood is also not everyone’s cup of tea, and a section of the audience might feel a certain fatigue, too, given that last year’s Kill also belonged to the same terrain.
Technical aspects
The movie’s cinematography is also of a high standard. Vincenzo Condorelli does a wonderful job of contrasting the brutal violence with an almost serene backdrop. The interesting use of light and shadow is very striking.
Among the songs, “Ruaa Ruaa Fateh” makes a major impact. This song plays out on more than one occasion giving an emotional depth to the proceedings.
The action sequences by nature are very brutal; one particular scene feels like an extension of Animal’s explosive pre-interval sequence. Still, the fight sequences are a treat for those who like hard-core action involving a lot of bloodshed.
Performances
Sonu Sood in ‘Fateh’. (X)
As Fateh, Sonu Sood does a very fine job balancing the calm exterior with the brute force. His portrayal of a tortured hero both physically and emotionally strikes an emotional chord. What also works as an added advantage is Sonu Sood’s real image where the actor has been much appreciated for great work during the harrowing COVID.
Jacqueline Fernandez’s presence works as a perfect contrast to Sonu Sood’s smouldering intensity.
Both Vijay Raaz and Naseeruddin Shah don’t have a lot of screen time nevertheless being the exceptional actors they are both make their presence amply felt. Naseerudin Shah brings in a nuanced menace making the viewers dread Raza whenever he comes on screen.
Vijay Raaz as the equally dangerous sidekick brings his own brand of dark humour. Talking about the humour part Sonu Sood’s character has shades of dry humour like the scenes where he offers tea to the villains before knocking them out.
Final take
To sum it up Fateh is a treat for fans of hardcore action and of course the many admirers of Sonu Sood thanks to his recent social work.
(Views expressed here are personal, edited by Sumavarsha)
‘Game Changer’ is a welcome return to form for the celebrated director. The film isn’t vintage Shankar, still fares far better than the catastrophe of ‘Bharateeyudu 2’.
Main Cast: Ram Charan, SJ Suryah, Srikanth, Kiara Advani, and Anjali
Director: S Shankar
Producer: Dil Raju
Music Director: Thaman S
Cinematography: Tirru
Rating: 3/5
Over the years Shankar has created a niche for himself as a director tackling issues of corruption and presenting social crusaders of different natures. Some of his protagonists take extreme measures like the extremely popular Gentleman (1993) and Anniyan (Aparichitudu) (2005).
On the other hand, you have Mudhalvan (1999), in which a television presenter becomes a chief minister. He ends up repairing the rotten system while staying within his powers.
Despite repeatedly tackling corruption themes in different forms, Shankar has enjoyed a huge fan base in not just Tamil but also Telugu. His Tamil dubbed movies have many admirers, in the recent past though the celebrated director has lost his mojo due to certain datedness, Bharateeyudu 2 (2024) being the best example.
The recent release Game Changer comes with a lot of pressure for Shankar, as there are doubts about his abilities to adapt to the present audience.
Synopsis
With Game Changer, Shankar proves that he has still got it, particularly the way in which he has designed the different shades of Ram Charan’s character and some solid moments between the protagonist and the antagonist.
He also discusses vote bank politics, in which poor people are given money to vote for a candidate belonging to a specific political party.
The storyline of Game Changer focuses on the battle between Ram Nandan and his father Appanna. It is about a generational fight between a father and son against societal injustices. SJ Suryah plays the chief antagonist Bobbli Mopidevi.
Bobbli has major aspirations of being a chief minister. To fulfil those dreams, Bobbli can go to any extent. Senior actor Srikanth also plays the grey-shaded character of Bobbli Satyamurthy. In the flashback portions, Bobbli is initially shown to be an admirer of Appanna, but things take a very drastic turn.
Strong aspects
‘Game Changer’ is a political drama. (X)
As already mentioned a strong aspect of Game Changer is how Shankar has designed the dual roles of Ramcharan. The character of Ram Nandan on the one hand is high on swagger and Ram Charan pulls it off in a charismatic manner.
He brings in the required authority to command the screen, particularly in the confrontation scenes with SJ Suryah. As Appanna he brings in an emotional depth. Appana is a man who suffers from a serious stutter.
In spite of his inability to deliver powerful speeches, Appanna is driven by a single-minded goal of changing the corrupt political system. Ram Charan does a very good job of bringing out the various nuances.
SJ Suryah has emerged as a wonderful character artiste in the last few years and in this one too, the actor makes for an extremely formidable antagonist. SJ Suryah does a terrific job of portraying the obsession of Bobbli Mopidevi.
His trademark dialogue delivery coupled with the mannerisms is a delight to watch. Srikant in a grey-shaded role also deserves appreciation for his effective portrayal of a guilt-ridden man. The way he showcases the transition of Bobbli Satyamurthy from an admirer to a backstabber has been wonderfully written and enacted.
Among the two female leads Anjali as Appanna’s wife leaves a significant impact. Her role as Parvathy is an important emotional anchor and this has come out very well despite having less screen time. The mother and son scenes in the second half are another major asset.
Weak aspects
Ram Charan in ‘Game Changer’. (X)
A major drawback of Game Changer is the insipid love story between Ram Charan and Kiara. All the sequences featuring the two have been weakly written.
Kiara doesn’t bring much to the table, other than looking beautiful and dancing energetically. Also, the portions featuring the likes of Priyadarshini and Satya among others are a major misfire. Despite their proven abilities, the comedic situations lack the required punch.
The climax is also too elongated with repetitive action sequences. The movie needed a much crisper edit in the closing portions. The cat-and-mouse game between Ram Charan and SJ Suryah though well-written gets repetitive.
Technical aspects
Thaman’s songs also enhance the narrative. On one hand, there is the upbeat “Jaragandi” and “Raa Macha Macha”. On the other hand, there is also the soulful “Arugu Meedha” picturised on Ram Charan and Anjali. Thaman has also delivered a thumping background score, particularly the portions elevating Ram Nandan.
Like most of Shankar’s movies, this too is visually grand. Cinematographer Tiru does a very fine in capturing the grand visuals through his lens. Sai Madhav Burra’s dialogues are also quite effective particularly the ones featuring Ram Charan and SJ Suryah.
The portions where Ram Nandan talks about the dangers of accepting money from a political party and subsequently voting for a particular person deserve a special mention.
Final take
Overall Game Changer is a passable political drama majorly enhanced by Ram Charan’s double role and S J Suryah’s antics. Don’t expect vintage Shankar and chances are you won’t be disappointed. For die-hard Ram Charan fans though the movie would be an absolute treat.
(Views expressed here are personal, edited by Sumavarsha)
While ‘Animal’ came across as a breakthrough performance, his performances on the OTT platforms with the web series ‘Aashram’ and the two movies ‘Love Hostel’ and ‘Class of 83’, also showcased his acting finesse.
Starting with the 1995 movie Barsaat, Bobby Deol has acted in more than 50 movies, including thrillers, action movies, and love stories.
From a boy next door in the likes of Barsaat the actor has transformed into a gritty actor with a diverse portfolio of characters. He has been a leading man, a supporting actor and has now transformed into a wonderful character artiste.
In the 1990s and 2000s Bobby Deol was a popular leading man primarily known for his stylish looks. However, as the years have gone by he has also proved his acting talent. While Animal came across as a breakthrough performance, his performances on the OTT platforms with the web series Aashram and the two movies Love Hostel and Class of 83, also showcased his acting finesse.
Standout performances in late 90s
In the late 90s and early 2000s too, the actor had a slew of fine performances to his credit. Among Bobby Deol’s earlier performances, his act in Abbas Mustan’s Humraaz (2002) deserves special mention. Bobby Deol’s character in Humraaz goes through many emotions, particularly in the second half. There is a palpable sense of distraught when Bobby’s Raj Singhania finds out that his wife has double-crossed him.
Another impactful character in Bobby Deol’s early career includes the romantic thriller Gupt (1997). In this movie, Bobby plays a young man wrongfully accused of murder. He portrayed the different nuances of the role in an impactful manner. Talking about comedy roles, Bobby’s act in Jhoom Barabar Jhoom (2007) as a mama’s boy was endearing to watch.
At one point Bobby’s career saw a dead end with no solid work coming. There were sporadic appearances but nothing substantial.
However, he rose to fame with the Sandeep Reddy Vanga’s Animal, in which he plays a non-speaking person. The film released in 2023 December, opened many avenues for the actor— he is now the most sought-after villain.
In 2024, he once again played an antagonist in Suriya’s Kanguva. While the movie didn’t work as expected, Bobby Deol’s performance earned praise.
Now let’s get into a little more detail about Bobby Deol’s reinvention by expanding on the recent films and the web series mentioned above.
Animal
Bobby Deol in ‘Animal’. (X)
In Sandeep Reddy Vanga’s Animal, Bobby Deol makes a late entry in the second half but leaves a lasting impact. His introduction scene captures two contrasting emotions. In the song “Jamal Kudu,” he dances joyfully with an alcohol glass on his head, celebrating. This is immediately followed by a moment of intense rage upon hearing of his brother’s death.
With his chilling eyes, Bobby’s character becomes a formidable opponent to Ranbir. In the climax, his emotional intensity shines through as he battles Ranbir.
Despite having no dialogue, his fiery eyes and body language convey murderous rage, making him an intimidating and deadly presence.
Class of 83
Bobby Deol in ‘Class of 83’. (X)
Class of 83, directed by Atul Sabharwal, is based on the novel by acclaimed crime journalist Hussain Zaidi. The film follows a cop, Vijay Singh, who is demoted to the dean of a police academy as punishment. At the academy, Singh selects a group of rookies to restore justice through unethical means. His plan works for a while, but things eventually fall apart.
Bobby Deol’s portrayal of Vijay Singh is far from the traditional larger-than-life cops like Salman Khan in Dabangg or Ajay Devgn in Singham. Instead, he plays a brooding mentor, conveying much through silence and his intense eyes. Deol effectively captures Vijay Singh’s inner turmoil with a powerful, internalized performance.
Aashram (Web series)
Bobby Deol in ‘Aashram’. (X)
In his web series debut, Bobby Deol played a charismatic godman in Aashram, directed by Prakash Jha. His character, Baba Nirala, is revered as a messiah for the downtrodden, but in reality, he harbours a dark past. The three seasons of Aashram tackle various social issues, such as the caste system and reservation, in typical Prakash Jha style.
As the cunning yet charming Baba Nirala, Bobby Deol brought immense charisma to the role. He skillfully portrayed the contrast between the god-loving persona he presents to his devotees and the darker side revealed once the curtain falls. Deol perfectly balanced the revered godman with subtle hints of his evil nature.
Love Hostel
Bobby Deol in ‘Love Hostel’. (X)
In Love Hostel, Bobby Deol played a hitman named Dagar, who believes he is doing society a favour by killing young couples who try to break societal norms by marrying outside their caste or religion.
Deol portrayed the mostly emotionless Dagar with the perfect attitude, outstandingly capturing his self-righteousness. He also nailed the hinterland accent.
This is an overview of Bobby Deol’s resurgence. This list is by no means complete, as the actor’s second innings includes many more exciting projects.
These include Yash Raj Banner’s first female-led spy film, starring Alia Bhatt and promising new talent Sharvari Wagh. There is also Anurag Kashyap’s untitled thriller with Sanya Malhotra. In addition, Bobby Deol has Telugu films Daaku Maharaj and Hari Hara Veera Mallu, as well as the Tamil film Thalapathy 69. Here’s hoping Bobby continues to deliver solid work.
An overview into some of the most impactful Hindi web series covering different genres.
Like the last few years, 2024 has also seen numerous filmmakers and production houses enter the OTT space.
A solid example of this is Sanjay Leela Bhansali’s Heeramandi— a powerful women-led story focusing on the contribution of Tawaifs in India’s freedom struggle. The web show had plenty of Bhansali’s grandeur and his usual empathy for the Tawaifs.
Mulk (2018) and Article 15 (2019) director Anubhav Sinha also made an impactful OTT debut with the hijack drama IC 814: The Kandahar Hijack. The web series revisited a hugely agonizing period when three Pakistani terrorists had hijacked a flight going from Delhi to Katmandu.
Karan Johar’s Dharmatic Entertainment a sub-wing of Dharma Productions produced two shows of diverse genres. The first one was the taunt investigative thriller/drama Gyraah Gyaarah. The series directed by Umesh Bhist kept the viewers intrigued with the additional concept of time travel, a cop in 2016 finding a walkie-talkie connecting him to a policeman from the past. Kill fame Raghav Juyal showcased his versatility with a wonderful portrayal of an impulsive cop.
The other was Collin D’ Cunha’s Call Me Bae, a breezy coming-of-age story with a strong sense of sisterhood. Ananya Pandey as Bella aka Bae delivered a winsome act nailing both Bella’s quirks and the emotional scenes too.
Continuation of series
In 2024, many popular series returned with new seasons. Among them, PanchayatSeason 3, directed by Deepak Kumar Mishra, stood out.
The highlight of Panchayat Season 3 was its portrayal of grassroots politics, with intense scenes of political rivalry. The earthy humour from the previous seasons was also maintained, making it both engaging and entertaining.
Maharani Season 3, directed by Saurabh Bhave, was a gripping tale of politics and revenge. Loosely inspired by 1990s Bihar, the series continued its strong socio-political commentary. Bhave captured the illegal liquor trade despite the official ban and effectively depicted the power struggles and ruthless political world. Huma Qureshi once again delivered a powerful performance in the lead role.
Following are some more details of the most impactful Hindi web series this year
Heeramandi
Manisha Koirala in ‘Heeramandi’. (X)
Sanjay Leela’s Heeramandi features a complex storyline with numerous characters and backstories. It takes time for viewers to understand the direction of the plot but soon captivates with powerful moments and performances.
The best aspect of Heeramandi is how Sanjay Leela Bhansali blends the internal politics of Tawaifs with the Indian freedom struggle, showing how they played a crucial role. The series also delivers hard-hitting dialogues, revealing that not only the British but also Indian nawabs, were fighting for supremacy through a divide-and-rule strategy.
A particularly poignant moment occurs when the Tawaifs march toward a prison wall at night. The background score, combined with Bhansali’s song “Azadi”, gives the audience goosebumps.
The performances, led by Manisha Koirala and Sonakshi Sinha, were outstanding. Among the male leads, Taha Shah made the strongest impact, capturing the internal struggle of a young man torn between love and responsibility.
Freedom At Midnight
A still from the series ‘Freedom At Midnight’. (Instagram)
Nikhil Advani’s adaptation of the sprawling novel by the same name was a brilliant exploration of the events leading up to partition. The director along with his writers skilfully captured the political turmoil of those times without blaming a particular political party.
The series had many goosebumps moments, particularly the portions of riot-torn neighbourhoods. The scenes of communal strife resulting from religious discord have a certain contemporariness as the religious divide remains a major issue today.
The acting performances led by Sidanth Gupta as Jawaharlal Nehru and Chirag Vohra as Mahatma Gandhi further enhanced the solid writing. Ashutosh Pataka’s music was also poignant enhancing the plot at various junctures. The tunes had a haunting quality.
Killer Soup
Konkona Sen Sharma in ‘Killer Soup’. (X)
Abhishek Chaubey’s Killer Soup is a delightful mix, blending influences from William Shakespeare and Virginia Woolf. The series is based on real-life incidents from Telangana.
Konkona Sen Sharma plays Swati, a housewife who dreams of owning a restaurant but lacks support from her husband, Prabhu. At the end of the first episode, Prabhu catches Swati with her lover, Umesh, leading to a major twist. Manoj Bajpayee is seen in a double role as both husband and illicit lover.
A standout element of Killer Soup is how Chaubey infuses Shakespearean touches into the story. One example is a private detective ghost who helps a cop, played by Nassar. The ghost, visible only to Nassar, offers him advice whenever he’s in a bind.
These moments have a touch of magical realism. While the situations may seem absurd, they are equally fun to watch. Chaubey’s tribute to Virginia Woolf shines in how he humanizes Swati’s character. Swati’s determination to open her own restaurant and her desperate need for respect are portrayed poignantly.
Konkona Sen Sharma flawlessly portrays Swati’s shifting moods, moving from loving to intense without missing a beat. Manoj Bajpayee is also excellent, especially as the illicit lover, Umesh.
Murder in Mahim
A still from the series ‘Murder in Mahim’. (X)
Murder in Mahim, directed by Raj Acharya, is a gripping drama that explores homophobia in depth. The series highlights the challenges faced by the LGBTQIA+ community and how societal acceptance remains slow, despite the removal of Article 377.
Based on a novel by Jerry Pinto, the plot centres around a series of murders targeting the LGBTQIA+ community. Vijay Raaz plays the lead cop, Shivajirao Jende, while Ashutosh Rana portrays Peter Fernandes, a retired crime journalist and Jende’s long-lost friend, who becomes an important ally.
Murder in Mahim balances the murder mystery with a critique of homophobia. Beyond this, the father-son dynamic between Peter and his son adds emotional depth, especially as they hold opposing views on homosexuality. This tension provides some of the series’ most powerful moments.
An important metaphor in the series is the restroom at a Mumbai local station, intended to be a safe space for the LGBTQIA+ community but instead fueling their fears of societal rejection.
Vijay Raaz and Ashutosh Rana are solid performers who don’t need a particular introduction, here too the senior actors did a fantastic job. The surprise package though was the young actress Shivani Raghuvanshi in the role of Firdaus Rabbani, a female police officer and a closeted member of the LGBTQIA+ community, making a lasting impact with her performance.
Maamla Legal Hai
Ravi Kishan in ‘Maamla Legal Hai’. (X)
Maamla Legal Hai, directed by Rahul Pandey, is a delightful satire on the legal system. The eight episodes explore eccentric cases inspired by real-life incidents.
At the centre of the show is street-smart advocate VD Tyagi, played brilliantly by Ravi Kishan. Tyagi, who aspires to become the bar association president, is skilled at finding loopholes and winning cases with ease. The series touches on serious issues, like lawyer strikes affecting cases and the connubial rights of prisoners, but presents them in an entertaining way.
One of the most bizarre cases is about a husband wanting to divorce his wife because she didn’t feel shy on their wedding night. While this may seem unbelievable, a newspaper clipping at the end confirms it really happened.
Ravi Kishan shines in his role, but Nidhi Bhist, as fellow lawyer Sujatha, also impresses with her excellent performance, matching Kishan’s brilliance.
IC 814 The Kandahar Hijack
Vijay Varma in ‘IC 814 The Kandahar Hijack’. (X)
Anubhav Sinha’s IC 814: The Kandahar Hijack is a refreshing hijack thriller/drama in many ways. It subverts the trope of a larger-than-life hero and offers a nuanced portrayal of terrorists, making them feel like complex characters. For example, there’s a scene where the terrorists play Antyakshari with the passengers, and one comforts an air hostess when she vomits from the stench.
Even in the case of Captain Sharan Dev, played by Vijay Varma, he is vulnerable like the other passengers, but his strong determination shines through. The web series is also refreshing in how it avoids over-the-top nationalism.
The series blends real-life events with dramatized moments, using a voiceover alongside archival footage. Merging these two elements is difficult, but Sinha does an excellent job.
Vijay Varma delivers a terrific performance, and Manoj Pahwa also makes a strong impact as the aggressive official. Pahwa commands attention, whether negotiating with the hijackers or conversing with the suave Aravind Swamy.
Call Me Bae
Ananya Pandey in ‘Call Me Bae’. (X)
Collin D Cunha’s Call Me Bae is a breezy coming-of-age story. Ananya Pandey plays Bella, a rich housewife, who is kicked out of her in-laws’ house after being caught getting cosy with her gym trainer, played by Varun Sood. Left to fend for herself, Bella’s mother also distances herself.
Bella’s struggles are presented in a light, sanitized way. She isn’t shown sleeping on footpaths or hustling in local trains. The show uses tongue-in-cheek humour to portray Bella, and once viewers adjust to the tone, there’s a lot to enjoy.
The best part of Call Me Bae is the camaraderie between Ananya Pandey’s Bae and Muskkaan Jaferi’s Saira Ali. Muskkaan’s character enters at a critical point and quickly becomes a pillar of support for Bella. Her witty one-liners add much to the show, and through her performance, Muskkaan makes viewers wish for a strong friend like Saira.
The show also features two other important women, played by Niharika Lyra Dutt and Lisa Mishra, who play key roles in Bella’s life. Vir Das adds spice as an arrogant journalist, with his confrontation scenes with Ananya being a major highlight.
Ananya Pandey excels in the title role, skillfully portraying Bella’s transformation.
Yeh Kaali Kaali Ankhein Season 2
A still from the series ‘Yeh Kaali Kaali Ankhein Season 2’. (X)
Yeh Kaali Kaali Ankhein Season 2 is a pulpy sequel with engaging twists and a strong Shakespearean touch. The famous Shakespeare quote, “The course of true love never did run smooth,” perfectly describes the twisted love story of Vikrant, played by Tahir Raj Bhasin.
Like the first season, the second benefits from the layered characterization of Vikrant. By the end of season one, he had become morally ambivalent. In this season, his grey shades are even more pronounced. Much like Sushmita Sen’s Aarya, Vikrant is forced to confront his inner demon due to certain circumstances.
Tahir does a terrific job portraying Vikrant’s emotional turmoil, especially when he realizes that Shikha (played by Shweta Tripathi) is no longer his. He is devastated when Shikha marries someone else and confronts her. In response, Shikha points out that he too married Purva (Aanchal Singh), bowing to circumstances. Tahir’s portrayal of Vikrant’s broken ego is exemplary.
Aside from Tahir, the season delves deeper into Purva’s character, revealing how she became an extremely possessive person. There is a powerful scene where Saurabh Shukla’s Akheraj Awasthi apologizes to Vikrant, saying he should have raised her better. Aanchal Singh does an excellent job humanizing her role as an obsessive lover.
An overview of the best web shows in Telugu which have left a solid impact with its storytelling and themes.
Web shows in Telugu have witnessed a slow yet steady growth both in terms of quality and quantity. The last few years have seen numerous impactful web series.
In 2023, there were two great shows Dhootha and Newsense. Both explored the topic of journalism through a different lens. Vikram Kumar’s Dhootha had a supernatural touch with a newspaper cutting playing a pivotal role. The Naga Chaitanya starrer made some important points on the dangers of intersecting politics and journalism, a relevant issue even today.
Newsense on the other hand directed by Sri Prawin Kumar was an insightful take on the nexus between media and rural politics. The story written by journalist Priyadarshini Ram reflected the lived realities.
2024 too gave us numerous web series, covering important social topics like Surya Manoj Vangala’s Brinda starring Trisha in a non-glamorous role. Using the genre of an investigative drama Surya Manoj Vangala explored the side effects of extremism both religious and otherwise.
Similarly, Paruvu directed by the duo of Siddarth Naidu and Rajesekhar Vadlapati was an engrossing social thriller focusing on different issues like caste, greed and communal harmony. The use of the funeral background also kept the viewers hooked adding to the tension.
Apart from thrillers, the second season of Save The Tigers went deeper into marital problems faced by today’s couples while maintaining the entertainment quotient.
This year also saw Telangana’s first detective web show Vikkatakavi: The Chronicles of Amarigiri led by an excellent Naresh Agastya.
Director Pradeep Maddali immersed the viewers into the world of Amaragiri. The director skilfully blended Telangana folk beliefs with the subplot of a bio-war
Following is the list of the best web shows in Telugu in 2024.
Brinda
Trisha in ‘Brinda’. (X)
Brinda opens with a disturbing prologue set in the mid-1990s, where a young girl becomes a scapegoat in a ritual to satisfy a goddess. This unsettling start sets the tone for the main plot. The story follows Brinda, a newly appointed sub-inspector, portrayed by Trisha.
Initially confined to desk work, Brinda suffers from anxiety and relies on medication. When a series of murders occur, she defies her superiors, leading to life-altering consequences.
A key strength of Brinda is how Surya Manoj Vangala expands the story beyond Brinda’s character. While Trisha is central, Ravindra Vijay, playing fellow cop Sarathi, also plays an essential role. Sarathi is waiting for a breakthrough in his career and personal life. The evolving dynamic between Brinda and Sarathi creates some of the show’s most compelling moments.
In addition to themes of extremism and blind faith, Brinda also addresses gender discrimination in the workplace and the importance of child care in juvenile prisons. Trisha breaks away from her glamorous image to deliver a nuanced performance. Alongside Ravindra Vijay, Indrajith Sukumaran also stood out as the charming yet calculating Dr Satya/Prof. Kabir Anand.
Save The Tigers Season 2
A poster of the series ‘Save The Tigers Season 2’. (X)
Save The Tigers Season 2 successfully took off from the immensely popular first one. New director Arun Kothapally did a great job maintaining the entertainment value while delving deeper into marital issues.
The theme of the seven-year itch stood out, through the character of Vikram, played by Krishna Chaitanya. Vikram works on a project with Harika (Darshana Banik). What starts as a professional relationship soon turns into mutual attraction. However, Vikram realizes that understanding his wife is more important, and a better sense prevails.
As in Season 1, the interactions between Abhinav Gomatam and the house help were a highlight. A memorable scene occurs when Rohini discusses her business aspirations, joking about what captions to write on an auto rickshaw, leading to some hilarious moments. The director also made some valid points about people who blindly believe gossip spread by news channels, particularly about actresses.
Priyadarshi, as Ghanta Ravi, continued to shine with his impactful performance, excelling in both comedic and emotional scenes. Among the female cast, Jordar Sujatha made the biggest impact.
Vikkatakavi The Chronicles of Amaragiri
Still from the series ‘Vikkatakavi’. (X)
Vikkatakavi, directed by Pradeep Maddalli, was a highly engaging detective thriller with a strong Telangana flavour. The story followed Naresh Agastya as Ramakrishna, also known as Vikkatakavi. Apart from being a brilliant student, Ramakrishna is renowned for his exceptional investigative skills. Due to certain circumstances, he embarks on a dangerous mission in the village of Amaragiri.
One of the standout aspects of Vikkatakavi was its world-building. Cinematographer Shoeb Siddiqui’s work was particularly impressive. The rustic village atmosphere, combined with thrilling night sequences, drew viewers in. The series also succeeded due to the constant tussle between superstitions and rationalism.
Naresh Agastya’s performance in the title role further elevated the plot. He brought the right mix of boyish charm and intensity to his character. Among the supporting cast, singer-turned-actor Raghu Kanche also impressed with his remarkable performance. His ability to convey negative traits through subtle expressions was a delight to watch.
Paruvu
A still from the series ‘Paruvu’. (X)
Paruvu, directed by Siddarth Naidu and Rajasekhar Vadlapati, is a well-crafted thriller that tackles various social issues. While the core plot revolves around the theme of honour killing, what makes the show gripping is how the directors blend different aspects into the central narrative.
The story centres on Nivetha Pethuraj’s character, Dolly (aka Pallavi), and her husband Sudheer (Naresh Agastya). Dolly had married Sudheer against her family’s wishes and now returns to her native village, Guntur, to pay respects to her deceased uncle. Her cousin, Chandrasekhar (Chandu), picks them up. Dolly is heavily pregnant but this doesn’t soften Chandu. There is an exchange of heated words leading to a big turn of events.
A major strength of Paruvu is its well-written characters, beyond just the leads. Each character has shades of grey, with Sudheer and Pallavi occasionally appearing opportunistic.
The funeral setting adds to the drama, with the relatives insulting each other while settling old scores. At times, it seems like no one cares about the departed soul, enhancing the narrative.
Both Nivetha Pethuraj and Naresh Agastya delivered brilliant performances, fully embodying their characters. In the supporting cast, Naga Babu surprised with his portrayal of MLA Ramayya, bringing out the impact of caste-based politics in rural Andhra. Praneetha Patnaik also gave a noteworthy performance.
Bahishkarana
Anjali in ‘Bahishkarana’. (X)
Bahishkarana, directed by Mukesh Prajapathi, is an intense rural drama that effectively transports viewers to the era of feudalistic landlords.
Anjali plays the mysterious Pushpa, who arrives in the village of Peddapalli. She then becomes involved with Shivaya (Ravindra Vijay), who assigns his right-hand man, Darshi (Sritej), to look after her. As the story unfolds, Darshi and Pushpa fall in love, with many twists and turns along the way.
A strong aspect of Bahishkarana is its period setting. Cinematographer Prasanna Kumar does an excellent job capturing the rustic landscape of Peddapalli. The love story between Darshi and Pushpa is well-developed, making the viewers hope for a happy ending.
The dialogues, written by Shayam, are perfectly in sync with the story. They offer impactful social commentary on the exploitation of the poor, while also addressing how society views women like Pushpa.
The performances of the three main characters were captivating. Anjali delivered a bold and compelling performance. Ravindra Vijay’s portrayal of Shivaya, with shades of legendary actor Rao Gopal Rao’s roles, was excellent. Shivaya appears to be a do-gooder but is, in fact, a womanizer, and Vijay brought this subtle menace to life. Sritej also impressed with his rugged portrayal of his character.
At times, the show felt reminiscent of Rangasthalam, but overall, it remained engaging.
Just like the previous years 2024 has also seen a huge range of stories from Malayalam and Tamil across different genres. For example both Adujeevitham : Goat Life and Manjummel boys were excellently made survival dramas/thrillers keeping the viewers on the edge. In case of Adujeevitham the movie also made a strong statement on the plight of not so educated men going to the gulf and becoming slaves. Adujeevitham was based on the very successful novel Goat Days and director Blessy did a wonderful job in capturing the soul of the novel while giving it his own touches. Prithviraj Sukumaran in the title role of Najeeb delivered a life changing performance perfectly capturing the emotional trauma of the protagonist. Manjummel Boys was also based on a real life story a group of friends going on a vacation in Kodaikanal, there one of them gets trapped in the Guna Caves leading to numerous tension filled moments. Manjummel Boys was made on a mere budget of 20 crores with not so known faces but the film turned out to be major blockbuster. The movie was vastly appreciated for its technical aspects in particular. Apart from Adujeevitham Prithviraj was also seen in the comedy Gurvayoor Amabalanadayil. The movie was a breezy watch majorly bolstered by Prithiviraj’s act of a comic villain.
On the other hand there was the romantic comedy Premalu again starring not so known faces. It was a breezy rom- com focusing on the lives of young adults getting into their first jobs and enjoying a newly found freedom away from their homes. On the surface the storyline is simple but director Girish AD did a fine job in engaging the audiences. The performances of the lead cast also made the movie enjoyable. One of Malayalam’s major actors Fahadh Faasil was one of its producers. As an actor too Fahadh had a very good year with the action comedy Aavesham. Aavesham focused on a bunch of engineering students taking the help of a gangster for taking revenge on seniors leading to a drastic change in their lives. Aavesham was a major success on the account of its whacky characters and a wonderfully eccentric Fahadh Faasil. The crackling dialogues were another huge asset particularly the interactions between Fahadh’s Ranga and Sajjin Gopu in the role of Ranga’s go to man.
Premalu and Aavesham
Noted Hindi director Abhishek Chaubey joined hands with Ronnie Screwvala with the hugely poignant Ullozhukku. This Christo Tomy directorial was a gripping emotional drama on human frailties. Urvasi and Parvathy Thiruvothu were simply fantastic in their respective parts perfectly embodying the story’s complex dynamics.
legendary actor Mammootty had a pretty good year this time too though not on par with 2023. Among the three releases Rahul Sadhasivan’s Bramayugam turned out to be the best one. In this movie Mammootty played the enigmatic Kodumon Poti. Mammooty simply chewed the scenery coming up with a terrific act. He terrified the viewers with just his body language. In spite of the flaws Bramayugam was an engrossing watch particularly the dialogues related to oppression of lower caste and the desire for power corrupting everyone irrespective of whether you are rich or poor. Midhun Manuel Thomas’s Abraham Ozler saw Mammooty in an extended special appearance, in spite of the less screen time the legendary actor made his presence amply felt. Turbo directed by Vysakh was a typical commercial entertainer with Mammooty having a blast. Mention must also be made of Jayaram who scored a commercial hit with the medical thriller/drama Abraham Ozler. Jayaram was mighty effective as the cop who is in a relentless pursuit of a serial killer while battling his own personal tragedies.
As far as Tamil movies go Vijay Sethupati had a very good year with Maharaja and the second part of Viduthalai. Maharaja saw Vijay Sethupati as a desperate father, Viduthalai 2 on the other hand showcased him as a social crusader. Vijay Sethupati nailed both the roles with charismatic ease. Sivakarthikeyan also hit the big league with the war drama Amaran. Based on the life of major Mukund Sivakarthikeyan seamlessly transformed from a boy next door to a brave army man.
96 Director C Prem Kumar once again explored the theme of nostalgia in a different setting. The movie Meiyazhagan with wonderful performances by Karthi and Aarvind Swamy was a big breadth of fresh air amidst larger than life heroes. The movie was a heartwarming emotional drama on self discovery and the importance of moving on. Lastly PS Vinothraj’s Kottukaali (The Adamant Girl) was a powerful take on silent rebellion. A strong aspect of Kottukaali was the fantastic use of visual metaphors. Through the visual metaphors PS Vinothraj did a wonderful job in showcasing the defiance of Anna Ben’s Meena
Some of the best Tamil movies
Maharaja and Viduthalai Part 2
Amaran
Meiyazhagan
Kottukaali
Now let’s take a dive into the best of Malayalam and Tamil movies in 2024
Malayalam
1 Aadujeevitham (The Goat Life)
Blessey’s Aadujeevitham centered on the life of Prithviraj Sukumaran’s Najeeb. The movie focused on how Najeeb’s life takes a very dark turn upon taking the decision of going to the gulf in order to give a better life to his family by earning more money. However a series of events leads to Najeeb becoming a goat herder in a hot desert with no hopes of coming back. The movie showcased the emotional and physical hardships and how he eventually returns back to his native place after a long ordeal. The best part of Aadujeevitham was how Blessy juxtaposed the flashback portions of Najeeb’s happy life in Kerala and his present wretchedness. The movie takes its own sweet time in showing the transformation of Najeeb but this gradual process helped the movie making the viewers strongly root for the protagonist. The film also benefited from the top notch technical team with particular mention to Sunil K’s cinematography. He did a splendid job in capturing both the beautiful Kerala back waters along with portions showcasing the numerous hardships that Najeeb and co face in the hot desert. In spite of an overindulgent second half Aadujeevitham was an heart wrenching survival drama. In the title role Prithviraj came up with a superlative performance. His physical transformation into a thin and unkempt man is on par with the best of international actors. Mention must also be made of KR Gokul who also stood out with his heart touching portrayal of Hakim. Amala Paul as Najeeb’s wife also shined in her brief role.
2 Manjummel Boys
Manjummel Boys directed by Chidambaram was a chilling survival drama. The story was set in the year 2006 focusing on a group of friends heading to Kodaikanal. Upon going to Kodaikanal they visit Guna Cave. Guna Cave comes with a certain history, one of the friends fall into a pit famously known as Devil’s kitchen. The rest of the story looked at how the group of friends known as Manjummel boys saved their friend.
A strong aspect of Manjummel Boys was how Chidambaram depicted the theme of friendship. The movie has a slow start but majorly picks up pace when the group of friends reach Kodaikanal. Chidambaram’s juxtaposition of an important childhood portion with the main incident was also superbly done. The production design also enhanced the drama with its realisticness. Particular mention must be made of the pit where the friend falls. Apart from the stellar production design Shusin Shyam’s background score also deserves a major appreciation for a job very well done. Among the actors Soubin Shahir and Sreenath Bhasi stood out with impactful performances.
3 Ullozhukku
Ullozhukku directed by Christo Tomy is a heartfelt emotional drama set amidst the backdrop of a funeral. The movie focused on the complex dynamics between Urvashi’s leelamma and Parvathy Thirovutu’s Anju. Anju is married to Leelamma’s son Thomaskutty but is still in touch with her lover Rajeev (Arjun Radhakrishnan). They are having an affair behind Leelamma’s back. Things take a drastic turn with the death of Thomaskutty. Upon the death of Thomaskutty Anju finds out that she is pregnant with Rajeev’s child leading to a complex chain of events.
The best part of Ullozhukku were the flawed human characters. Through these flawed characters Christo Tomy touched upon the themes of grief, desire, honor, and freedom among others. The layered characterizations of both Urvasi and Parvathy also enhanced the drama. Traditionalists would have a tough time in digesting Anju’s serious relationship with her boyfriend while being a married woman however Christo Tomy did a wonderful job in etching out Anju’s love. At one point she even tries to elope with her boyfriend while Leelamma’s family is still grieving. On the surface her actions will come across as selfish but at the same time viewers also understand her desperation. Even Urvasi’s Leelamma comes with her own weaknesses. She has abundant love towards Anju at the same time she is unable to see the struggles of her daughter in law. The movie also subtly touched upon the theme of class divide in the scenes where Leelamma vents out her anger.
4 Bramayugam
Rahul Sadhasivan’s Bramayugam was an engaging period horror movie with elements of fantasy, folklore and religion. The movie’s timeline is 17th century Kerala. A Dalit singer Thevan (Arjun Ashokan) loses his way in the forest and comes across a dilapidated mansion, in this dilapidated mansion only two people stay. One is Kodumon Poti (Mammootty) and the cook played by Siddarth Bharatan.
Bramayugam lacks the overall compactness of Rahul Sadhasivan’s earlier movie Bhoothakaalam, however Bramayugam is still very much worth a watch particularly the portions where the movie gets into a political zone. How the desire for power is extremely dangerous came out brilliantly in the form of some impactful dialogues. The black and white cinematography of Shehnad Jalal perfectly enhanced the horror elements. As the enigmatic Kodumon Poti Mammootty once again showcased a different facet of him with his impactful act.
5 Aavesham
Aavesham directed by Jithu Madhavan was an thoroughly entertaining ride with its goof ball characters and a fabulous Fahadh Faasil. The movie focused on a group of freshers wanting to take revenge on seniors. A chance meeting with Fahadh Faasil’s Ranga leads to a dramatic change in their lives.
A strong aspect of Aavesham were the interactions of Ranga with the three college students. How Ranga delivers a bond with the three showcasing a different side was both well written and enacted. The movie also benefitted immensely from the quirky characterization of Fahadh coupled with his delicious performance.
Now to the best of Tamil movies in 2024
1 and 2 Maharaja and Viduthalai 2
Maharaja directed and written by Nithilan Swaminathan on surface is a standard revenge story elevated by the non- linear storytelling and the intricate world building. In the beginning portions Vijay Sethupati’s character is seen filling a case about a missing dustbin. The cops headed by Natajaran take him for a crazy guy throwing him out of the police station but Vijay Sethupati’s character doesn’t budge eventually forcing the police to take up the case. This is the story in brief. A strong aspect of Maharaja are its police station scenes bordering on ridiculousness. The earnestness with which Vijay Sethupati repeats the story about the missing dustbin is both amusing and moving at the same time. While the investigation is going on a new character is introduced parallelly. Anurag Kashyap played the role of Selvam a loving father to his daughter Ammu with an unknown dark side to the wife. Nithilan Swaminathan did a wonderful job in connecting the dots and how Selvam is connected to the protagonist’s life. The police characters were also written well, they start off as a bunch of opportunistic cops but end up developing a conscience. The movie also deserves appreciation for how it portrayed a rape survivor. There is a very significant portion in the pre- climax where the rape survivor confronts her attacker telling in very clear terms on how she isn’t going to live with shame. Apart from Vijay Sethupati’s powerful act Anurag Kashyap also shined with an impactful performance. A particular mention must be made of his act in a crucial break down scene.
Viduthalai 2 directed by Vetrimaaran was a powerful conclusion with themes of oppression, the division of human beings on the basis of caste and the need to question the flaws in the system. The movie takes the viewers back to the times of monstrous zamindars and the struggles of peasants. The movie also touched upon the origin of communism. On more than one occasion the movie feels like a lecture with an overload of dialogues, still it is a must watch for those like Vetrimaaran’s storytelling. A major highlight of Viduthalai 2 was the origin story, a normal school teacher Perumal aka Vaathiyar transforming into a school crusader brilliantly portrayed by Vijay Sethupati. Soori this time around was mostly relegated to the sidelines, nevertheless he did make his presence amply felt.
3 Amaran
Rajkumar Periyaswamy’s Amaran ticks all the boxes of a traditional war drama. As viewers you know where the proceedings are headed, still the tight writing coupled with the performances made it an engaging watch. At its core Amaran is a love story. The life of Major Mukund is told from the perspective of his wife Indu Rebecca Varghese (an excellent Sai Pallavi). Rajkumar Periyaswamy did a very fine job in showcasing the various stages of their relationship making the viewers wish that the real life story panned out differently.
The director’s portrayal of Kashmir’s political insurgency had its share of problems still the numerous battles of CRPF were well documented. Sivakarthikeyan sprung a very pleasant surprise with his outstanding portrayal perfectly capturing the various shades of Mukund. Sai Pallavi’s character is mostly one note still she brought in a lot of emotional depth.
4 Meiyazhagan
C Prem Kumar’s Meiyazhagan was a heartwarming movie about self discovery and the importance of moving on. The core plot of Meiyazhagan was about the main character’s inability in remembering the name of other person. Arvind Swamy was seen as Satyam. Satyam was forced to leave both his house and hometown due to a family dispute. After many years he comes back to his native village for an important family wedding. Satyam bumps into Karthi’s Sundaram. Sundaram treats Satyam with lot of affection but the latter has no memory of how Sundaram is related to him. This is the story in brief.
Meiyazhagan had a slow beginning but picked up huge momentum with the entry of Karthi. Karthi raised many chuckles with his witty dialogues proving to be a perfect catalyst. He did a very fine job in embodying the idealistic and selfless nature of Sundaram. A particular mention must be made of the scenes where Satyam tries hard to recollect the name and puts up act of remembering him. A lot of situational humor is generated through this. Aravind Swamy as the brooding Satyam proved to be the perfect antithesis. He did a very fine job in portraying Satyam’s trauma making the viewers feel his pain. The characters of the greedy relatives is strictly one note still through this subplot C Prem Kumar gave an important message about forgiving people and in the process overcoming bitterness
5 Kottukaali
PS Vinothraj’s Kottukaali was a powerful movie on rebellion through silences. Backed by Sivakarthikeyan the film focused on the themes of caste, patriarchy and tradition. The story primarily focused on Anna Ben’s Meena and Soori’s Pandi. Meena is apparently possessed by a dangerous spirit. So the families of Meena and Pandi take her first to a local goddess and then a local seer.
The best part of Kottukkaali was the use of visual metaphors. For example there is a scene where the men have to carry an auto rickshaw on their shoulders with Meena still inside. The act of Meena refusing to come out can be interpretated as her way of rebellion.
Similarly the latter portion also features a hugely volatile scene when Meena quietly hums the song ‘Othyadi Padhaiyila’, playing in the background of a puberty ceremony. Pandi gets into a huge frenzy as the tune reminds him of her lover. He starts thrashing everyone around but Meena doesn’t say a single word.
The cinematography of B Shaktivel was also top notch. He perfectly captured the rustic surroundings. Both Anna Ben and Soori did a fantastic job in their respective characters. Anna Ben mostly conveyed the myriad emotions through her body language. Soori on the other hand invoked terror whenever he appears on screen this in spite of the hoarse voice. The one slight flaw of Kottukkaali was the ending which needed more cohesiveness.
