Director Vivek Athreya talks about channeling anger in the right direction and not using it for futile reasons. The director brings his trademark quirks to a regular plot of good versus evil
Starcast: Nani, SJ Suryah, Sai Kumar, Priyanka Mohan, Aditi Balan, Abhirami and others
Director and writer: Vivek Athreya
Music and background score: Jakes Bejoy
Producer: D VV Dannaya
Production house: DVV Entertainment
Running time: 2 hours and 46 minutes
Vivek Athreya’s last Ante Sundaraniki was a simple rom peppered with a lot of situational humor, through the jokes he did a fine job in addressing our religious biases. In spite of a long winding screenplay the film has built a solid fan base over the years. Saripodhaa Sanivaaram is less indulgent, but the trademark Vivek Athreya’s touches are aplenty. On the surface Saripodhaa Sanivaaram is a regular vigilante story with a nod to Salim Javed’s angry young man. What makes the difference here though is the world building, a solid base for the hero villain conflict. The film also has interesting touches particularly the characterization of Sai Kumar, Sai Kumar’s character of an angry cop in police story doesn’t need a particular introduction, in a refreshing reversal Sai Kumar is seen as a peace-loving father constantly worrying about the consequences of his son’s anger. He is also seen cooking and cleaning, but Vivek Athreya doesn’t reduce him to a whimp giving the senior actor his own mass moment.
Building a solid base for the hero villain conflict
The broad storyline of Saripodhaa Sanivaaram is about an insurance agent Surya (Nani). Surya leads an ordinary life from Monday to Friday but on Saturday he unleashes his anger. The reason for the Saturday fixation is connected to the mother played by Abhirami, she was also aggressive in nature. The beginning portions establish how Surya’s sense of social justice comes from his mother. Even the sister played by Aditi Balan has her own temper and isn’t someone who cows down easily. On certain occasions Sai Kumar’s Sankaram feels like an odd one out trying to maintain balance. S. J Suryah ironically named Dayanand Daya also has anger issues, he shares a thorny relationship with the brother Kurmanand (a hilarious Murali Sharma). Since Kurmanand is an MLA Dayanand channels his frustration on the locality of Sokulapalem this colony is inspired from the famous Stuartpuram, their ancestors were thieves, and the present Sokulapalem people are the victims of a certain stigma. Whenever Dayanand wants to vent his anger, he comes to that place and inflicts torture on whomever he wants. It is just a matter of time before the worlds of Surya and Dayanand collide, this happens due to Priyanka Mohan’s Charulatha a newly appointed constable. The movie is divided into various chapters like the prologue, turn and knot among others.
A strong aspect of Saripodhaa Sanivaaram is the strong characterizations that Vivek Athreya gives to both the hero and villain. Both of them come across as two powerful entities. The director has also designed some interesting character traits. For example, S J Suryah’s character comes with shades of sarcastic humor, there are times where he goes from serious to jovial within a flash of second. These nuances add a lot to the role and the actor simply chews the scenery. His scenes with Nani though few in number are power packed. On certain occasions he even overshadows Nani with his powerful presence.
Nani’s Surya on the other hand is someone who suppresses his anger until Saturday and takes it out only when he feels the frustration is justified. For the father he is a tickling time bomb, and this leads to numerous laugh out loud moments. A certain warmth can also be seen at a crucial juncture when the father gives him an important advice. Nani as always does a fine job both in portraying both the boy next door and also the angry young man.
A certain warmth is also there
The romantic scenes with Priyanka Mohan are also filled with some fun moments. Particularly the meta references to Eega. Their love has been treated in a dignified matter. Priyanka Mohan’s Charulatha is someone who doesn’t like violence and stays away from confrontation. This trait comes across as an ode to Mani Ratnam’s classic movie Thalapathy.
The romance has been treated in a dignified manner
Mention must also be the portions involving S J Suryah and Murali Sharma. Their scenes again have undertones of humor, at the same time the viewers understand the origin of Dayanand’s skewed personality.Saripodhaa Sanivaaram also comes with a mythological reference to Krishna and Satyabhama ending Narakasura’s terror. There is an important message on how one shouldn’t rely on divine intervention, instead people must stand up for themselves. This has come out beautifully. The movie tries its best to not showcase Nani as the ultimate savior even though the climatic battle prominently features Nani and S J Suryah’s face off. At the same time, it has to be said that the people of Sokulapalem could have done with more fleshed out characters. At certain points they resemble a cliched helpless lot waiting for someone to change their lives. Similarly, no higher authorities keeping a check on Dayanand’s activities is hard to digest.
Jakes Bejoy’s background score elevates the drama on numerous occasions particularly the tense moments. Saripodhaa Sanivaaram is a good attempt a bringing some freshness within the good versus evil genre in spite of a few setbacks.
In 2023, the Telugu film industry did not have any monstrous successes on the scale of RRR (2022) but there are many decent hits like Hi Nanna, Miss Shetty Mr Polishetty, Bhagavanth Kesari, and Virupaksha headlined by stars and tier-2 actors.
Small-budget films like Writer Padmabhushan and Balagamalso struck a chord with audiences and critics alike.
Further, in 2023, several new and unconventional themes have been explored in Tollywood.
For example, Balagam was a human drama set against the backdrop of a funeral in rural Telangana. The practices of a specific region were portrayed with authenticity and this majorly contributed to the audience’s connection with the film.
Writer Padmabhushan delves into the struggles of both an aspiring writer and the unfulfilled aspiration of a housewife who wanted to become a writer. This is again a theme that we don’t see in Telugu cinema.
Miss Shetty Mr Polishetty explored the concept of a young man falling in love with an older woman in the backdrop of sperm donation.
Hi Nanna is about the trials of a single father and a complex love story that ends happily. Both these films worked well with their target audiences.
The biggest surprise of 2023 though is the transition of Balakrishna from a macho hero to a father hero. In Bhagavanth Kesari, the actor played a foster father with a salt-and-pepper look that went with his age.
Lastly, Virupaksha was a paranormal thriller that raised some important points about the prejudices and superstitious beliefs set against the backdrop of a particular village.
Now, let us delve a little more into these Tollywood releases:
Hi Nanna
First-time director Shouryuv delivered a riveting emotional saga about a single father and his daughter, along with a mother who battles her inner demons. Hi Nanna moves at a slow pace and is definitely not for those who prefer high-octane entertainers.
A poster of the film ‘Hi Nanna’. (X)
The trio of Nani, Baby Kiara, and Mrunal Thakur were simply splendid in their respective parts. For Nani, the role of Viraj is a cakewalk. But still, the actor was a delight to watch — whether it was the boyishness of a young lover or a determined single father in the later stages.
Baby Kiara more than held her portraying innocence and vulnerability like a pro.
Mrunal Thakur as Yashna/Varsha delivered a performance that was a step ahead of last year’s Sita Ramam(2022) in many ways.
On many occasions, she conveyed various feelings with just her expressive eyes, proving yet again why she is a bundle of talent.
Overall, Hi Nanna proved to be a perfect balm for those traumatised by the violent father-and-son dynamics of Animal.
Another strong aspect of Hi Nanna is the mostly soothing soundtrack of Hesham Abdul Wahab. My favourite songs in the album are “Samayama”, “Gaaju Bomma”, and “Ammaadi“.
The one song that sticks like a sore thumb though is “Odiyamma” featuring Shruti Haasan in an extended cameo, which the film could have easily done away with.
Sanu Varghese’s cinematography is icing on the cake, particularly the portions where Viraj talks about his wife in a fairy tale format.
Miss Shetty Mr Polishetty
P Mahesh Babu’s Miss Shetty Mr Polishetty is a romantic drama filled with many layers. On one hand, you have an older woman Anvitha (Anushka Shetty), who wants children but not through marriage. She wants to go for IVF, that too, by choosing her sperm donor.
A poster of ‘Miss Shetty Mr Polishetty’. (X)
On one level, the movie has a distinct hangover of Ayushmann Khurrana’s Vicky Donor (2012). But Miss Shetty Mr Polishetty is very much its beast.
A big strength of the film is how P Mahesh Babu has sketched his two protagonists.
Anvitha comes across as very stubborn, at times cold-hearted too, but having said that, the viewers also understand why she is the way she is. The inner trauma of Anvitha was both well-written and enacted.
The director was successful in creating an authentic middle-class milieu through the characters of Murali Sharma and Tulasi playing Siddhu’s (Naveen Polishetty’s) parents.
Miss Shetty Mr Polishetty benefitted immensely from its two primary actors — Anushka Shetty and Naveen Polishetty.
Anuskha fits perfectly into the part of an older woman who is scared of getting into relationships.
Naveen Polishetty was an absolute livewire. His real-life experience of doing standup comedy came very handy. However, he was equally good in the more dramatic portions.
Jayasudha had an extended cameo as Anvitha’s mother, and her fan act of Balakrishna raised some chuckles. A couple of flaws include the rushed transformation of Siddhu’s parents, particularly the father.
Also, the likes of Nassar could have been utilised better.
Bhagavanth Kesari
In Bhagavanth Kesari, director Anil Ravipudi successfully moved away from his regular style of filmmaking and delivered an emotional drama that showed a different side to Nandamuri Balakrishna. At the same time, he satisfied his hardcore fans.
Balakrishna in ‘Bhagavanth Kesari’. (X)
Bhagavanth Kesari is primarily about an ex-police officer turned foster father to Vijji (Sreeleela).
As a young child, Vijji meets Bhagavanth in a jail where her father (R Sarathkumar) worked. Bhagavanth feels an emotional connection with the child from the beginning. After the sudden death of Vijji’s father, he takes over her responsibility.
The biggest USP of Bhagavanth Kesari is easily the emotional drama between Bhagavanth and Vijji. The thought processes of Bhagavanth and Vijji are vastly different from each other.
Vijji’s interests lie more in marrying the love of her life. Bhagavanth, on the other hand, wants to raise her like a lion. In that process, he pushes Vijji to do certain things.
In these portions, the attitude of Bhagavanth reminds the viewers of Aamir Khan’s Mahavir Singh Phogat in Dangal (2016).
Director Anil Ravipudi also made some important points about good and bad touch through a rousing monologue of Balakrishna.
Both Balakrishna and Sreeleela delivered powerful performances. Balakrishna’s command over the Telangana dialect was also commendable. Arjun Rampal made for a worthy opponent.
He brought in the right amount of swag and ruthlessness. It is not the most innovative character, but Arjun Rampal still made it work.
Virupaksha
Karthik Varma Dandu’s Virupaksha is a solid paranormal thriller that scores equally on both the atmosphere and the content.
The filmmaker proved to be a worthy successor to his master — the hugely successful filmmaker Sukumar, who is also the screenplay writer for this film.
Sai Dharam Tej’s ‘Virupaksha’. (X)
Virupaksha is one of those movies that instantly draws the viewers in with its ambience. It has some genuine jump scares; on more than one occasion, the viewers would want to close their eyes.
Sukumar’s screenplay is filled with many layers. He, along with his director, comes up with valid arguments against prejudices and superstitious beliefs that stem from ignorance.
They also deserve credit for not making their protagonist Surya (Sai Dharam Tej) larger than life. There are no unnecessary songs or comedy tracks that deviate the audience’s attention.
The twists and turns are engrossing till the end.
A special mention must be made of the climactic punch regarding the character of Samyukta Menon’s Nandini.
On the performance front, Sai Dharam Tej delivered a convincing performance. But it was Samyukta who stole the show with a complex character.
The supporting cast comprising Rajeev Kanakala, Ajay, and Sai Chand were also fine in their respective parts.
Hello Meera (Amazon Prime)
Hello Meera, directed by Srinivasu Kakarala, is a well-made experimental film.
The story revolves around a single character. Gargeyi Yellapragada played the titular role.
Meera is all set to marry a man called Kalyan and is busy finalising the last-minute formalities for her big day in Vijayawada.
A poster of the film ‘Hello Meera’. (X)
She is on her way back home, but at that exact moment, a cop from Hyderabad calls her to report to a police station at the earliest. The reason is her ex-boyfriend had attempted suicide mentioning her name in the suicide note.
What follows is a story that is not just high on thrills but also dwells on the prejudices that a modern woman faces.
It is not an easy task for any filmmaker to write and engage the audience with a script with only a single actor at its centre. But Srinivasu Kakarala more than rose to the occasion. He ensured that the audience was invested in the plight of Meera. As viewers, you want her to come out safe from this ordeal.
Hello Meera has a series of voice conversations. At times, it does get monotonous, but these voice characters also have a variety.
For example, there is her conservative mother, a father who stands by his daughter, and a future partner who comes across as slightly insensitive.
Teja Paruchuri of Vismai Foods has given his voice to the future spouse.
Gargeyi Yellapragada as Meera is thoroughly impressive. Her reactions to different situations do not come across as staged at any point. She is supremely natural. Her character of a modern woman who is forthright and owns up to the mistakes she has made in the past is something that many modern women can relate to.
Saalar: Part 1-Ceasefire
Saalar: Part 1-Ceasefire directed by Prashanth Neel is an important movie for its leading man Prabhas. The Baahubali star has been struggling big time to maintain his image as a pan-India star.
Prabhas in ‘Salaar’. (X)
Many thought that Om Raut’s Adipurush(2023) would bring back the lost glory, but nothing of that sort happened. In fact, the movie only added to Prabhas’ misery.
With Saalar: Part 1-Ceasefire, Prashanth Neel delivered a masala treat which should appeal to the fans of Prabhas.
The biggest strength of Saalar: Part 1-Ceasefire is the intense brotherhood showcased between Prabhas’ Deva and Prithviraj Sukumaran’s Vardha.
Deva’s intense affection for Vardha is visible right from the first scene, and this brotherhood only becomes stronger as the film goes on. Not surprisingly, Prabhas shares most sparks with Prithviraj.
Shruti Haasan played the role of Aadhya. She speaks in a heavily accented American accent, which is irritating, to say the least. Prabhas and Shruti do not have many scenes and aren’t romantically paired at least in this first part.
Prabhas doesn’t have many dialogues, but the actor is successful in portraying the raw aggression reminiscent of Chatrapathi (2005) days.
Prithviraj is also wonderful in portraying both the vulnerability and determination of a future successor caught in the power struggle.
The world of Saalar: Part 1-Ceasefire is similar to Game of Thrones in terms of drama and character dynamics.
Some of the themes explored by the film are the right to leadership and loyalty among others. Prashanth Neel has done a good job of depicting these themes.
Saalar: Part 1-Ceasefire ends with a cliffhanger that sets a good base for the second part.
Apart from an irritating Shruti Haasan, the KGF (2022) hangover does play a spoilsport. Also, the bloodshed in the second half gets too gory much like Animalwhich was also released in December.
Hi Nanna works a perfect balm for those who had a tough time with the violent father and son dynamics in Animal. Nani pulls of his role with the expected panache but it is Mrunal Thakur who steals the show
Rating 3.5 out of 5 Starcast: Nani, Mrunal Thakur, Baby Kiara, Priyadarshini, Jayaram, Angad Bedi and others Story, direction and screenplay: Shouryuv Additional screenplay: Bhanu Deeraj, Rayudu, Vasanth Sameer and Pinnamaraju Dialogues: Vamshi Bommena and Nagendra Kasi Producers: Mohan Cherukuri, Murthy K.S and others Production Company: Vyra Entertainments Genre: Romantic drama Running time: 2 hours and 35 minutes
There has been a heavy dose of father oriented stories this year. Whether it is Shah Rukh Khan’s double act of a father and son in Jawan , or Pankaj Tripati’s turn in OMG 2 as a disgruntled parent who slowly becomes a revoluntary for his son. Even Vijay Thalapathy who is generally known for his mass characters delivered an affecting performance in Lokesh Kanagaraj’s Leo as a family man with a dark past.
Baby Kiara and Nanni in a song sequence
Hi Nanna directed by debutant director Shouryuv is an emotional rollercoaster that makes the viewers feel many things. Sure the pacing is slow and the story does take a little time to get going however the end results are mostly satisfying. But it has to be said that the movie isn’t for fans of high octane entertainers.
Viraj (Nani) is a professional photographer and a single father. Mahi (Baby Kiara) is the 6 year old daughter. Viraj has always kept the story of Mahi’s mother in the dark. Whenever she asks about where her mother is Viraj simply skips the matter. Things take a turn when Viraj promises Mahi that he would tell about her mother provided she scores first rank. Mahi does score first rank but Viraj doesn’t adhere to his promise. Expectedly Mahi gets very angry and leaves the home. She almost faces an accident but is saved in the nick of time by Yashna (Mrunal Thakur). The rest of the story is about what had happened between Viraj and his wife along with how Yashna changes the lives of Viraj and Mahi.
Nani and Mrunal Thakur
As mentioned above the pacing of Hi Nanna is slow. Director Shouryuv takes his own sweet time in setting up the plot. The initial minutes are devoted to the bond of Viraj and Mahi. The story gathers momentum with the entry of Yashna. Viraj narrates his past in a fairy tale format. In these flashback portions Mahi imagines Yashna as her mother. Viraj’s love at first sight is slightly clichéd but it doesn’t get too bothersome thanks to the chemistry between Nani and Mrunal Thakur. The characters of Viraj and the wife are contrastingly different from each other. Viraj is someone who is eternally hopeful irrespective of what the situation is. The wife on the other hand has anxiety issues that primarily stem from growing up in a broken home.
She is someone who is very clear about not getting into the complications of a marriage having seen her parents constantly argue with each other. However she does end up marrying Viraj much to the annoyance of her mother. There is a lovely scene between Viraj and his prospective mother- in- law where the economical differences are highlighted. What makes this scene special is how he deals with the situation in the most empathetic way. The viewers instantly root for Viraj. Viraj initially says that they need not have children but that changes later on. There is a huge argument between Viraj and the wife followed by a heartwarming moment. This scene is a major highlight of the film and a perfect example of the sizzling chemistry between Nani and Mrunal.
Angad Bedi makes his debut with Hi Nanna
Towards the end of the first half director Shouryuv gives a major twist to the character of Yashna. The second half is heavier. In spite of some predictable scenarios the viewers are still invested in how the tale will end. This is majorly because of the strong emotional cord. A drunken banter between Nani and Mrunal Thakur does come across as a respite from the otherwise heavy drama.
What doesn’t work though is a party song featuring Shruti Haasan. It looks completely out of sync with the overall tone of the film. The extended special appearance of Sruthi Haasan could have been easily scrapped. Angad Bedi plays a character modeled on Salman Khan’s Amar in Kuch Kuch Hota Hai. He is pretty good but lacks the charm of what Salman Khan brought to the table as the third wheel.
Priyadarshi plays the friend cum colleague part with his usual effervescence. His comic timing is spot on as always and his camaraderie with Nani is fun to watch. Another member who stands out in the supporting cast is Jayaram. The actor delivers a nuanced performance as Mahi’s grandfather. He particularly shines in an emotionally charged sequence at a critical juncture.
Debutant director Shouryuvmakes the viewers feel many things
Apart from Nani and Mrunal’s sizzling chemistry another strong point of Hi Nanna are the father and daughter scenes between Nani and Baby Kiara. They simply melt your heart on many occasions. Baby Kiara performs like an absolute pro with the right amount of innocence and vulnerability.
Hesham Abdul Wahab’s music and background score another big strength of Hi Nanna. Except for the Sruthi Haasan number the rest are a delight to watch and listen. My favorite numbers are Gaaju Bomma, Ammaadi and Samayama.
Priyadarshi’s comic timing is spot on as always and his camaraderie with Nani is fun to watch.
The cinematography of Sanu John Varghese is a visual delight particularly the flashback portions in Connor.
For Nani the role of Viraj is a cake in the park but nevertheless the actor is a delight to watch. He does a splendid job in portraying the different shades of Viraj whether it is the boyishness of a young lover or as a father later on who will do anything for his daughter. However it is Mrunal Thakur who steals the show with an outstanding performance. She plays a complicated character with ease. Mrunal conveys the various feelings with just her expressive eyes showing once again the bundle of talent she is. It is a performance that is a step ahead of last year’s Sita Ramam in many ways. Chinmayi’s dubbing adds to the impact.
Hi Nanna is a heartwarming story of a father and daughter along with a mother battling her own inner demons, a definite breadth of fresh air which needs to be seen.
Writers: Uday Aghamarshan, Jayanth Tadinada and others
Creator and screenplay: Srinivas Avasarala
Producers: Priyanka Dutt and Swapna Dutt
Production Company: Early Monsoon Tales
Genre: Drama/comedy
No of episodes: 7
Streaming site: Amazon Prime
Contrary to the title of the web series Kumari Srimathi (Nitya Menon) is an unmarried 30 year old woman. The setting of this story is Ramarajulanka. Kumari Srimathi and her younger sister were brought up almost single handedly by their mother Devika (Gautami) and also grandmother Seshamma (Talluri Rameshwari). Keshava Rao (Prem Sagar Rajulapati) is the uncle of Srimathi. Srimathi is fighting a court case regarding an ancestral property that her uncle wants for himself.
In a turn of events the court gives Srimathi the option of buying her uncle’s share of property for 38 lakhs. But that is easier said than done. Srimathi who did hotel management course was working as a floor manager. At this point she decides to set up her own restaurant cum bar in her native village. Devika is already vexed with her daughter’s adamant nature who refuses to get married and this decision only angers her further. The rest of the story is about the challenges that Srimathi faces in her endeavor of becoming a businesswoman and also whether she is able to win the court case.
Stories of family feud is a beaten to death genre but still Gomtesh Upadhye manages to bring a freshness. The newness comes from how he depicts the journey of Srimathi in establishing her restaurant cum bar. He makes a subtle point about how the society differentiates between man and woman while doing the same business.
The director talks about these things in a non preachy manner. Gomtesh Upadhye also deserves credit for his portrayal of Gautami’s character. She is not particularly happy with her daughter’s decisions. Still she comes around and becomes a strong pillar of support at a crucial juncture.
Kumari Srimathi also boasts of some chuckle worthy sequences. One of these include Gautami day dreaming about the consequences of her daughter’s actions. Prem Sagar playing the semi villain has some hilarious punches as well. For example there are moments where he is confused between his twin sons Mani and Phani. What also brings the house down is his understanding of the word ‘nincompoop’.
There is also a love triangle where Thiruveer’s Abhinav and Nirupam’s Sriram compete for Srimathi’s affections. But this track feels out of place in an almost perfect tale.
Nitya Menon’s character is a huge fan of Nani. Nani has a special appearance at a most unexpected juncture. Nani’s presence is only for a few seconds but as viewers we feel a touch of nostalgia on seeing the Ala Modalaindi Jodi again.
Gautami
Cinematographer Mohan Krishna does a good job of capturing Ramarajulanka through his lens. Music directors Staccato & Kamran do a fine job with both songs and background score.
Nitya Menon effortlessly gets into the skin of her character. She portrays the courage and vulnerability of Srimathi in an arresting manner. Gautami and Rameshwari also provide solid support. The three of them together are such a delight to watch.
To sum it up Kumari Srimathi is a well made feministic tale that deserves your time.
Cast: Nani, Keerthy Suresh, Anant Singh, Dheekshith Shetty, Samuthirakani, Shine Tom Chacko, Sai Kumar, Jhansi, Poorna, and Zarina Wahab
Director: Srikanth Odela
Producer: Sudhakar Cherukuri
Music: Santhosh Narayanan
Runtime: 2 hours 36 minutes
P Sukumar’s Rangasthalam (stage) and Pushpa: The Rise changed the mainstream Telugu cinema grammar in significant ways. They presented their heroes in a vastly different light from what the audiences are generally used to seeing.
First-time director Srikanth Odela was an assistant to Sukumar before making his directorial debut with Dasara. The hangover of Sukumar is visible in terms of how he sets up his story.
Like the above-mentioned films, Dasara also has a rustic background. In Pushpa: The Rise, the backdrop is a remote forest where the smuggling of red sandalwood is rampant.
In Dasara, it is the Singareni coal mine area. At its core, Srikanth Odela’s Dasara is a typical revenge saga where the viewers can easily guess how it is going to end.
What redeems the film is the performances and also how the young director has mounted the story.
Synopsis
The story of Dasara is set in a village called Veerlapally. The period is the 1990s.
The movie begins with the story of three childhood friends Dharani (Nani), Soori (Deekshith Shetty) and Vennela (Keerthy Suresh).
Dharani is attracted to Vennela but he sacrifices his love after learning about Soori and Vennela’s love. He also helps them in their endeavour to get married.
When everything is going hunky dory things change drastically and their lives turn upside down – all because of the politics between the two village heads.
Amidst these developments, Dharani faces a shock of his life that forces him to fight back. This is the story in brief.
Excellent cinematography & production design
The film starts in a gripping manner. The life of the three friends and the bond between them keeps you hooked.
The villagers’ addiction to alcohol in the coal mine area and the problems that come with it keep the audiences engaged.
Srikanth Odela is also successful in portraying the cultural and social specificities of that area. The case in point is the “Bathukamma” (a flower festival celebrated by the women of Telangana) performance during the Dasara festival.
A special mention must be made of cinematography and production design. Sathyan Sooryan does a splendid job of capturing the rawness of the area through his lens. Singareni Coal Mine area has an authentic feel to it.
Falters after interval bang
Much like Rangasthalam, here too, caste politics play an important role. Though the angle of caste politics isn’t as strong as in Rangasthalam, Srikanth Odela still does a fairly fine job.
The pre-interval chase sequence and the intermission bang have been expertly handled. But things stagnate quickly after the true intentions of the villain are revealed. As a consequence, things become dull.
The running time of two hours-plus feels quite heavy, particularly the elongated climax when Dharani goes on an absolute killing spree.
Santhosh Narayanan’s music goes well with the Telangana flavour. The “Bathukamma” song and “Chittu Chittula Gumma”, in particular, have been well-tuned.
Nani & Keerthy Suresh shine
As Dharani, Nani knocks it out of the park. There is no trace of the boy next door that we generally associate with the actor.
The actor just disappears into the rustic avatar starting from his body language. He portrays the many emotions with ease.
Dharani’s character has an interesting design to it. When he doesn’t consume alcohol, he comes across as timid. But when he drinks, he is completely another person.
This character trait of the protagonist has been effectively used by the director, particularly in the later portions when Dharani decides to get over his alcoholism.
Keerthy Suresh stands out as Vennela. The actress shines bright in both the light and the emotional bits. She shares good chemistry with both Deekshith Shetty at the beginning and Nani later on.
Dheekshith Shetty as the friend gives an effective performance. Although he is there only till the interval, the actor more than makes his presence felt.
The likes of Sai Kumar and Samuthirakani needed to be better used.
The same applies to Malayalam actor Shine Tom Chako as well. He has a good presence but the character needed to be more unhinged to make an impact
Except for Keerthy Suresh, neither Poorna nor Jhansi has anything worthwhile to do. They mostly don’t have a say.
Music: MM Srilkeha, Suresh Bobbili, and John Stewart Eduri
Runtime: 2 hours
Not much was expected when Hit (The First Case) hit the theatres. However, the film surprised many thanks to its arresting screenplay. Vishwak Sen was also applauded for his performance as the officer battling with post traumatic stress.
There were certain issues with the storytelling. The climax was a downer and some of the investigation scenes lacked cohesiveness, but still the film was appreciated for its novelty.
The sequel has Adavi Sesh taking over the reins from Vishwak Sen, but the characterisations of both the heroes are as different as chalk and cheese. Expectations from the sequel are far more thanks to the well-received trailer and its leading man.
The setting of Hit (The Second Case) is Visakhapatnam. Before we are introduced to SP Krishna Dev (Adavi Sesh) there is an important incident that sets the tone of the story.
It is about a man who accidently stumbles upon his wife’s extramarital affair. Expectedly he gets angry and orders her to go away.
The wife goes to a women’s organization and paints a picture of her husband mentally harassing her. This leads to the husband’s humiliation and subsequently he loses his job as well. Later on we also find out that he had committed suicide.
Enter Adavi Sesh
After this prologue the scene shifts to the introduction of Adavi Sesh. Unlike the brooding Vishwak Sen’s Vikram Rudraraju, Adavi Sesh’s KD is more relaxed in the way he conducts his investigations. KD is also a chai addict. For him visiting a crime scene can wait, but not chai.
KD has a live-in relationship with his girlfriend Aarya (Meenakshi Chaudhary). Rao Ramesh plays KD’s superior. KD is someone who is also known for his wit and sarcasm and this adds a different dimension to the character. Maganti Srinath reprises her role from the first part.
A tonal shift in the film happens when a woman is found dead in a gruesome manner. This brings to the fore questions of women’s safety. From here on the film moves to into the zone of an SP versus a psychopath. Two more gruesome murders follow, and the pressure mounts on the police to catch this serial killer.
What is common between the murders is that all three women were part of a women’s organization. At one point it appears that everything has been solved, but soon a big twist comes. And this twist jolts the audiences.
The rest of the story is about why the serial killer is specifically targeting this section. And, most importantly, whether KD is able to put a stop to all this.
The many pluses of Hit2
Hit2 is a film which works on many counts, starting from the technical team. John Stewart Eduri’s background score has the required tension. The effectiveness of his background score can be particularly felt when KD has to race against time.
Cinematographer Manikandan is effective in showcasing Vizag in a different light. The production design also deserves a special mention.
Meenakshi Chaudary in Hit2 has more to do than Ruhani Sharma in Hit1, and the actress does a good job. Both Adavi Sesh and Meenakshi have a good chemistry. Director Sailesh Kolanu treats their live-in relationship in a matter of fact way without making it a big thing.
KD’s scenes with Aarya’s mother (Geetha Bhascker) bring a certain fun element in an otherwise tense ridden film. The audiences miss seeing more of Geeta Bhascker.
The film also briefly touches upon extra-judicial killings and police encounters being celebrated. It is just a brief subplot but nevertheless Sailesh Kolanu makes some valid points.
Creating the back-story
The major area where Hit2 scores over its first part is in the motivation of the killer. The back-story of the villain and why he does what he does has been brought out superbly. Moreover, the actor playing the villain is somebody that the audiences would never have thought of.
Portions of the climax aren’t easy to digest, but as an audience you nevertheless come out satisfied.
Hit2 majorly rests on the shoulders of Adavi Sesh and the actor doesn’t disappoint. KD is a character with various shades and he plays it with a finesse that we have come to associate with him. He has been part of thrillers previously too but Hit2 showcases the actor in a different light.
Of the rest, Suhas and Maganti Srinath hold their own. Some of the senior actors haven’t been properly used by the director. And these include Rao Ramesh and Tanikella Bharani.
Another minor complaint: The scenes of Adavi Sesh with Posani Krishna Murali — they don’t add much weight to the film.
The music by MM Srilekha and Suresh Bobbili is functional. However, there is one romantic song which is both good to watch and hear.
Hit (The Second Case) leaves you excited for the third part, and also a possible crossover between the three heroes in the future.
Romantic comedies are one of the most sought genres in cinema worldwide. They fill you with a certain warmth and make you forgot about the troubles in everyday life. It is a genre which has lost some of its sheen given that you know what will happen at the end. The challenge therefore is what you bring to the table within the familiarity. Vivek Athreya takes a simple story line and peppers it with certain social topics. His non-linear style of narration works big time. The director is also helped by his in form leads Nani and Nazriya.
The film begins with an elongated background of both its lead characters. Sundar comes from a highly conservative Hindu family. You can gauge their nature from the fact that Sundar is not allowed to travel to the US. The reason being that they believe it is a sin to allow a man to cross the sea. This kind of superficial thinking makes Sundar’s growing up years very painful. Naresh plays the father of Nani (Sastri Garu). The mother is played by Rohini. In fact Sastri Garu gets his son a girl’s bike. The reason is he is worried that the horizontal crossbar would make him infertile. Sundar is also subjected to many rituals since his childhood; this makes the astrologer very rich. Like the rest of the family Sundar also comes with his own quirks. For example he stops watching movies for a silly reason. He also has a problem posing for photos.
Nazriya’s Leela on the other also comes from a very conservative family. The only difference is that they pray to a different god; Christ. Both families have a problem of mixing with people from other religious backgrounds. But that doesn’t stop the growing friendship between these two within the premises of the school. Their friendship soon grows into love. But the hitch is that neither have the courage to say it directly. What follows is a web of lies that leads to many complicated situations.
THERE IS A WONDERFUL BALANCE OF COMEDY AND EMOTIONS. THE FILM ALSO MAKES OTHER PERTINENT POINTS ON PREGNANCY AND FERTILITY AMONG OTHER ASPECTS.
A basic perquisite for any romantic comedy is that the lead characters should share a wonderful chemistry. The comfort level between Nani and Nazariya is visible throughout. As audiences you believe that their love would move heaven and earth through their barrage of almost never ending lies.
Vivek Athreya uses humor to address many of our religious biases, the jokes not only land but they make you introspect.
There is a wonderful balance of comedy and emotions. The film also makes other pertinent points on pregnancy and fertility among other aspects.
Out of the comic scenes, my most favorite ones are the interactions between Nani and Harshvardhan. They just bring the house down. Special mention must also be made of the scenes of Sundar and Leela tapping into their inner child whenever they make outlandish plans. It raises many chuckles.
THE ROLE OF SUNDAR IS PRETTY MUCH A CAKEWALK FOR NANI. THE ACTOR IS VERY MUCH IN HIS ELEMENT.
Naresh has the best role among the supporting players. The role of Sastri garu has a very good arc. He starts off as someone who is highly traditional but as we go along we see him slowly and gradually changing. Naresh does a splendid job in bringing out all these nuances. Rohini gets her one big moment in the pre-climax where she questions her husband and mother-in-law. The actress aces this scene.
The role of Sundar is pretty much a cakewalk for Nani. The actor is very much in his element. A special mention must be made of his comic timing which leaves you in splits. Malayalam actress Nazriya makes an impressive Tollywood debut. She fits perfectly into the skin of leela. Her screen presence combined with the performance stays with you.
In a nutshell Ante Sundaraniki is entertaining and emotional. It is a love story across religions without any bloodshed which is rare in these times.
There is a lot to admire about Rahul Sankrityan’s Shyam Singha Roy. The theme of reincarnation isn’t something new in films but what makes the difference here is the narration. That is not to say that the film is flawless. The second half could have been trimmed down; also the climax is a letdown. However for most part the director makes you invested.
The story begins off with the struggles of a debut director Vasu (Nani plays both Vasu and Shyam Singha Roy). Vasu has ambitions of becoming a film director; in order to achieve that goal he starts off with a short film. The story is set but the issue is that Vasu is not able to find the heroine for his short film. At this point he comes across a postgraduate student played by Krithi Shetty of Uppena fame. Kriti’s character Keerty has no interest in films whatsoever let alone acting, but Vasu is convinced that she is the one. After some effort he is able to convince her. From here you have some romance between the two. The romance isn’t particularly something new but the staging of these scenes have a certain freshness to it. In between Vasu has flashes of Shyam Singa Roy. During those times he goes into a trance. Once he goes into a trance while getting intimate with Keerty and calls her Rose. This leads to a split between the two.
THE HEART OF SHYAM SINGHA ROY LIES IN THE FLASHBACK EPISODE OF THE SECOND HALF. THE DIRECTOR DEALS WITH MULTIPLE ISSUES STARTING FROM UNTOUCHABILITY.
Coming back to the short film it becomes a success. A producer asks him to come with up a bound script with the assurance that he would provide all the resources that Vasu needs. The film becomes a massive success and Vasu is asked to make the same film in Hindi. Things are going very well but it is here that the life of Vasu turns upside down. He is accused of a plagiarism by a leading publication house. Their accusation is that Vasu has directly copied the stories of Bengali activist and writer Shyam Singha Roy. Vasu denies that he has copied these stories and this leads to an intriguing court case where history and religion are linked.
The heart of Shyam Singha Roy lies in the flashback episode of the second half. The director deals with multiple issues starting from untouchability. Later it goes to the Devadasi system and how the Devadasi’s are abused. The director makes a powerful statement on how they shouldn’t be slaves to anyone not even god. Yes the role of Shyam does fall under the upper caste savior but it still works.
SAI PALLAVI IS TERRIFIC IN BOTH THE DANCES AND ALSO OTHERWISE. SHE CONVEYS SENSUOUSNESS AND VULNERABILITY AT THE SAME TIME THROUGH HER DANCES.
The romance between the Devadasi woman ( Sai Pallavi) and Nani gives plenty of heartwarming moments. Sai Pallavi is terrific in both the dances and also otherwise. She conveys sensuousness and vulnerability at the same time through her dances. Their romance is built up well and the director makes sure that you root for them.
Another key character here is of Rahul Ravindran who plays one of Shyam Singa Roy’s brothers Manoj Singa Roy. Nani and Rahul Ravindran don’t have many scenes but their scenes are filled with warmth. Rahul Ravindran gives a strong performance but he is particularly impressive in his old man avatar in the pre climax. Unfortunately the same cannot be said about Jishu Sengupta who plays the elder brother. It is a character which could have been played by anyone. It would have been best if Jishu had not played this role.
The contemporary bits in the first half are also hugely enjoyable. The comic scenes featuring Abhishek Gomatam and Nani raise lot of chuckles. The struggles of Vasu are something that many aspiring filmmakers would connect with. Kriti Shetty as Keerti has a very different role from Uppena and the actress makes her presence amply felt. What also makes the first half work is the role of Madonna Sebastain as lawyer Padmavati.
NOT SURPRISINGLY NANI IS SUPER EFFICIENT IN BOTH HIS ROLES. HE SHIFTS SEAMLESSLY BETWEEN THE BEWILDERED VASU AND THE DASHING SHYAM SINGA ROY.
Micky J Myer’s music is another strong pillar of Shyam Singa Roy. His compositions add a lot to the film. Malayalam cinematographer Sanu Varghese makes his Tollywood debut with this film. His cinematography deserves distinction marks. The way he captures the atmospherics in the second half is particularly commendable. Avinash Kolla’s art direction is also first rate.
Not surprisingly Nani is super efficient in both his roles. He shifts seamlessly between the bewildered Vasu and the dashing Shyam Singa Roy. His performance is a major reason why we buy into this recarnation drama.
Coming to the dampeners the big downer is the climax. It doesn’t make any sense to keep Sai Pallavi’s character alive. The director could have easily avoided that. It is not just melodramatic but plain unnecessary. It also doesn’t help that the prosthetic used are in no way convincing. Rahul Ravindran’s old man get up is far better than Sai Pallavi’s one.
Another problematic thing is how the director depicts the violent actions of Nani and Jishu Sengupta at different points in the film. There are two gory murders in the film but at no point we are told that they are punished leave alone a police case. Another problem is that we don’t see Shyam Singa Roy doing any activism post marriage. He does write books and also gives speeches but you don’t see much of on ground activism.
Irrespective of these flaws the film the movie is watchable and the director is promising.
