Tag: Nani

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Best of Telugu movies (2025): An all-round year for Nani and the storm of Little Hearts

An overview into some of the most impactful Telugu movies of the year irrespective of their box office results: also, the emergence of new actors who have made quite an impact with elements of caste and gender  

The year of 2025 like 2024 has belonged to small and medium budget films. A very distinctive feature among the successful films are the star casts featuring new kind of leading actors without the baggage of stardom. This is particularly true in the case of Court, Little Hearts and Mirai.

Court backed by popular actor Nani is an important social movie talking about the misuse of POCSO and also the caste structure. Director Ram Jagadeesh effectively used the set-up of a teenage love story to explore these topics. What also makes Court special is that the film is Ram Jagadeesh’s directorial debut.

Little Hearts written and directed by Sai Marthand is also a debut feature like the above mentioned Court. This too features a teenage love story but with a different social set up. The heroine in this movie Kathyayini (Shivani Nagaram) isn’t just 3 years older to the hero: she is also a strong-willed protagonist. This clearly comes out in the way of Kathyayini taking charge of the relationship. The interval point with her slapping Mouli’s Akhil when he asks are you aunty is another solid example of her strong-willed nature. Little Hearts is a perfect mix of coming of age with some adorable rom com moments.  Director Sai Marthand was thoroughly successful in entertaining the viewers. Not surprisingly the film turned out to be very profitable.

Kathyayini slapping Mouli’s Akhil as he asks whether she is aunty

Mirai directed by Kartik Gattameneni followed the template of Teja Sajja’s last Hanuman. Nevertheless, the movie was an engaging visual spectacle with strong back stories for the hero and the antagonist. Like Hanuman here too Teja Sajja pulled off the character’s transformation with ease. With Mirai Teja Sajja proved that he is here to stay. Manchu Manoj also shined in the negative role with a commanding voice.

Among the popular actors Nani had a double dhamaka both as an actor and producer. As an actor Nani hit it out of the park with the violent crime thriller Hit 3. The movie presented Nani in his most ferocious avatar till date, and he nailed the nailed the different shades.

Senior performer Venkatesh made a good comeback after the underwhelming Saindhav in 2024. Anil Ravipudi delivered a perfect Sankranti entertainer with an in form Venkatesh. As a man caught between his wife and ex girlfriend while handling an important task at hand Venkatesh raised many chuckles with his expressions and a wonderful sense of comic timing. Both Aishwarya Rajesh and Meenakshi Choudhary also added to the fun with their respective acts. A special mention though must be made of the child actor Bheemla Revanth Pavan Sai Subhash. He was simply boisterous with the OTT inspired curses. The child actor shared a wonderful chemistry with Venkatesh.

Another senior actor Nagarjuna had a solid year as well with two contrasting roles in Kuberra and Coolie. In Kuberra Nagarjuna played a conflicted CBI officer with panache, he brought out the inner dilemmas in an excellent manner. Coolie on the other hand saw Nagarjuna as an out out villain. He clearly had a blast playing an unhinged antagonist.

Among the actresses both Anupama Parameswaran and Rashmika Mandanna had strong roles in Paradha and The Girlfriend respectively. Both these movies feature women protagonists of a certain type. How the thought process changes and the eventual transformation is a delight to watch. In case of Paradha its about questioning archaic traditions. The Girlfriend on the other hand had one of the best climaxes in 2025 with Rashmika’s Bhooma letting it all out and a Maa Durga symbolism.

Following are some of the most impactful Telugu movies of the year

Court: Ram Jagadeesh’s Court is an important social drama led by an excellent cast. The movie threw light on a sensitive issue like misuse of POCSO. In today’s age of increasing macho heroes it was refreshing to see a story of two underdogs. In a way the film follows the template of Jolly LLB universe nevertheless Court is an engaging movie. A very important aspect of Court is its subtle depiction of caste hierarchies without spelling it loud. This comes out in two instances primarily. One is the heroes’ mother ironing clothes as a profession and the second one is Harshvardhan’s character saying to Priyadarshi on why he wants to save the protagonist, after all he is just a watchman’s son. The teenage love story featuring Harsh Rohan and Sridevi Appala has also had its highs especially the sequences of Premalo song. The performances led by a terrific Sivaji are an icing on the cake. Sivaji absolutely embodied the caste fanaticism and the misogynistic attitude. Priyadarshi as the underdog lawyer was good too with some important dialogues on how the judicial system needs to follow certain discretion. Both the young leads Harsh and Sridevi Appala did a fine job as well, but the former stood out in portraying the pain of a young man caught in a complex scenario.

Kuberra: Sekhar Kammula and Chaitanya Pingali’s Kuberra is easily the director’s most socio-political movie till date. Movies about financial scams aren’t new by any means but what makes the difference here is the integration of beggar’s community. Dhanush’s Deva is an underdog hero transforming into an unlikely champion. Through an underdog hero played by Dhanush the movie gives a relevant message on what true wealth means. It talks about how true wealth should help in improving people’s lives and not just hoarding riches.

Apart from a terrific Dhanush and Nagarjuna the integration of Rashmika’s Sameera was also well done. As a young woman caught in a major tussle Rashmika did a fine job in portraying the inner strength. Jim Sarbh too perfectly embodied the power-hungry capitalistic attitude with his demeanour. The movie also featured some impactful dialogues. They were often laced with philosophical undertones especially the scene of Rashmika where she talks about all of them being beggars in some way or other. The dialogue goes like this “I begged freedom from my parents. I begged my boyfriend to not break up with me. I begged my friend to let me stay at her place for a few days and now I’m begging people to give me a job. So all of us are beggars in some way or others, they are also dialogues critiquing capitalism in an impactful manner. The production design by Thota Tharani also played a crucial role in building an authentic atmosphere.

The Girlfriend: Rahul Ravindran’s The Girlfriend is a strong slap on toxic masculinity endorsed by the likes of Arjun Reddy and Animal. The movie focuses on the transformation of a timid woman Bhooma (an outstanding Rashmika Mandanna). How she goes from scared to a more assertive individual is a delight to watch in spite of a slow burn approach.

A lot of Bhooma’s suffocation is shown through symbolism and magic realism like the impactful interval sequence. Both the writing and Rashmika’s performance makes the viewers empathize with Bhooma’s struggles of wanting to break out.

The Girlfriend also has strong scenes of sisterhood. The scenes between Anu Emanuel and Rashmika though not a lot in number are a treat to watch, as Durga Anu brings in the required warmth especially in the sequence where she warns Bhooma about Dheekshith Shetty’s Vikram not being the right guy. As the controlling boyfriend Dheekshith Shetty was in top form too.

Little Hearts: Little Hearts directed by Sai Marthand is a fun coming of age tale with some good rom com moments. The movie features two protagonists who aren’t exactly the brightest bulbs when it comes to studies. The plot follows their journey from meeting at long distance coaching to a journey together. Akhil played by a wonderful Mouli is nursing the wounds of an intermediate break up when he meets Shivani Nagaram’s Kathyayini. What seems to be a temporary recourse develops into something deeper. A strong aspect of Little Hearts is the different process of love for the two protagonists. Unlike Akhil who gets instantly smitten by Kathyayini’s Ishqzaade hairstyle. She takes her own time in trusting the protagonist. Kathyayini comes with a very clear thought process of marrying whom she loves. Throughout the second half she comes across as a binding factor being a teacher/girlfriend as per the situation. The way she brings the change in Akhil without getting into a screechy mode like the wonderful bus sequence is a delight to watch. There is a moment in the bus when Akhil is about to abuse, and Kathyayini gives a hard look. She doesn’t say anything but it’s enough for Akhil to change his tone to more respectful. This is followed by a smile on Kathyayini face. Even when the matter gets serious at her home Kathyayini defends Akhil by saying that she proposed to him first which isn’t actually true. No wonder Akhil says he cannot leave her no matter what. Mouli absolutely nailed this important monologue elevating the movie from just a comedy. An important aspect of the pre climax more than standing for Akhil is the female autonomy with Kathyayini being the steering wheel of where the relationship is headed, this also reflects in the career choice later on. All this combined make her a steel rod and Shivani Nagaram did a very good job in bringing alive these qualities. What also added to the movie was Jai Krishna’s comic timing. His constant doubts about Akhil and Kathyayini’s love being doomed only to be proven wrong was terrific. The Bahubali parallels also came out well adding to the entertainment quotient. Among the senior actors both Rajeev Kanakala and SS Kanchi made their presence amply felt.

Thandel: Chandoo Mondeti’s Thandel is inspired from a real life incident involving a group of fishermen caught in Pakistani waters. The jingoism aspect coupled with the sketchy Pakistani characters did pull the movie down still the movie had a heartfelt love story. The director did a fine job in exploring the lives of fishermen bringing out a strong sense of brotherhood among the community. Thandel also benefitted from a strong technical department coupled with Naga Chaitanya and Sai Pallavi’s strong acts. Devi Sri Prasad’s score boasted of melodious songs like “Bujji Thalli” and “Hilesso Hilessa”. As Raju and Satya Naga Chaitanya and Sai Pallavi did a very good fine job in portraying the emotional complexities. Before Raju and his group drift into the Pakistani waters a major conflict arises between the couple threatening to destroy their relationship. These conflict points were handled well with the audiences understanding the dilemmas of both. The character of Sai Pallavi’s Sathya becomes an important anchor for the fishing community when Raju is stuck in Pakistan Jail. The strong inner strength is palpable in the way she takes things head on. This gender aspect also adds an interesting layer.

Andhra King Taluka: Mahesh Babu Pachigolla’s Andhra King Taluka is an engaging love letter relatable for numerous fans. Unlike Maneesh Sharma’s movie Fan this one does a much better job in using the emotional bond between a devotee and his favourite actor. A big strength of Andhra King Taluka is the climatic portion featuring heartfelt conversations between Ram’s Sagar and Upendra’s Surya. The positive influence of Surya on Sagar in overcoming anxiety issues and tackling challenges head on moves the audiences.

Ram Pothineni has always been a capable actor but the choices have always been a problem: But Andhra King Taluka showed the actor’s potential in an excellent manner. Ram delivered a knock out act especially the interval block. It is an emotionally charged moment and Ram did an excellent job. Upendra too lent in gravity as Sagar’s idol. The vulnerabilities of a major star came out well through his role. Upendra especially shined in the pre climax when Surya bares his soul out.  Andhra King Taluka makes for an engaging watch especially if you have been a diehard fan yourself.

Paradha &Subham: Praveen Kandregula’s Paradha and Subham are two very important women sensitive Telugu movies of the year. Paradha on one hand questioned the practice of archaic traditions through a fictional village. By using the veil as a symbolism Praveen Kandregula talked about the different kinds of obstacles faced by women. The movie also featured a strong sense of sisterhood among the three women protagonists in spite of the varied age gap and different social backgrounds. Anupama Parameswaran, Darshana and Sangeeta delivered powerful performances as well enhancing the narrative. Anupama was particularly good in bringing out the transformation from blind belief to becoming more liberated.

Subham on the other hand used the horror comedy format to question the stale nature of TV serials along with the concept of alpha male. A major highlight of Subham was the second husband played an excellent Gavireddy Srinivas. The actor generated a lot of humour as a proud alpha whose pride is massively hurt. The movie gave an important message on the necessity of communication in a marriage and understanding the women in your life rather than trying to be rough.

Anaganaga (ETV Win): Anaganga streaming on ETV Win has a simplistic core but an important message on the need to reinvent education system. The emotional drama featuring Sumanth and Viharsh as the son worked extremely well. How Viharsh’s character gradually gets over his stage fear and also academics gave some poignant moments.

The husband and wife arguments with Kajal Choudhary playing a strict principal were also well written. In spite of some major ideological differences between the two there are also understated romantic moments like Sumanth’s Vyas pacifying his wife. Later she too understands the husband’s point of view.

Director Sunny Sanjay also did a good job in showcasing the dark side of academic competition. You have a disturbing scene of class toppers awarded on the podium; on the other hand those who have failed are publically called out. The message regarding the need for empathy in education and how the race for top ranks is harmful in the long run came out in an impactful manner.

Uppu Kappurambu: Uppu Kappurambu on Amazon Prime is a whimsical social satire with an excellent Suhas. Director Ani. V Sasi flipped the popular Telugu poem on its head by saying that everyone is equally important.

The plot features a caste angle through what seems to be a bizarre fight over graveyard control. On the surface it may seem idiotic but the caste disparities with two influential families fighting it out is both funny and thought provoking.  Keerthy Suresh as a woman sarpanch takes a while to get going but the national award-winning actress soon settled down giving a very fine performance. Suhas as the graveyard caretaker Chinna was simply superb getting into the skin of the character with ease. He especially stood out in the scene when talking to the dead as if they are long lost friends.

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Nani: From soft to rugged…versatile all the way

A banner of Some Nani movies

An overview into how Nani has evolved as an artist over the years with roles that have covered different spectrums. His rise from a midbudget hero to a major star actor and the various aspects that have contributed to his success both as an actor and producer

There is an interesting moment in Hit 3 when the antagonist Pratik Babbar meets Nani’s Arjun Sarkar unaware of being him a police officer in the homicide intervention team. He looks at Nani and talks about him having a soft face. To this Nani replies that the audiences also think the same but there’s a different personality to me. This serves as a self referential dialogue on how Nani began as an actor with roles like Ashta Chamma, Ala Modalaindi and Bale Bale Magadivoy among others and how he has gradually expanded his repertoire by doing a wide variety of roles, for example in 2023 there was Dasara and Hi Nanna both extremely different from each other.

Hi Nanna and Dasara two very different roles

In Dasara he played a rustic young man stealing coal for a living along with his friend. Nani’s character of Dharani starts off as more of a coward unlike the friend who is more desirable with leadership qualities. However as the movie progresses the personality of Dharani undergoes a major change with different shades. Nani completely shed his boy next door persona getting into the skin of the character, whether it was the dialect or the overall body language, Dasara was the first glimpse of Nani going more rustic with choice of roles. Hi Nanna on the other hand is a very different territory. In this movie Nani’s role goes from a young lover to a father who can do anything for his daughter, his chemistry with the brilliant Mrunal Thakur whether it is the scenes of love at first sight or the more emotionally charged ones were the biggest ace of the movie. In spite of certain similarities with the national award winning Jersey the actor made the viewers root for Viraj to have a happy ending.

Starting from his debut movie Ashta Chamma in 2008 Nani has acted in at least 37 movies so far. Apart from acting Nani has also forayed very successfully into production with Wall Poster Cinema. Under the banner Wall Poster Cinema Nani has produced 6 movies so far. Prashanti Tipirneni also plays an active part in this production house. The first movie produced under Wall Poster Cinema was Awe directed by Prashanth Varma. The movie is by no means perfect still it was a daring experiment dwelling into themes of sexual abuse, lesbianism etc. With his very first production venture Nani showed his intention of backing new voices who are off mainstream. Even in the case of Sailesh Kolanu the director of the hugely growing Hit franchise, he was neither an assistant director to someone nor coming from a filmy background. But still Nani still trusted him based on what he wrote and the rest as they say is history. The latest example of Nani’s risking taking ability is the movie Court about the misuse of POCSO. The film’s director Ram Jagadeesh is also a debutant like the above mentioned ones and he completely justified the faith of Nani. A big reason for the movie’s success were the active promotions and the confidence with which Nani backed the movie, it is easily one of the biggest hits of 2025 in terms of money invested and the returns got.

Nani from Ashta Chamma movie

Awe the first movie produced by Nani

Before making his acting debut Nani was a popular radio jockey in world space radio with his own set of fans, he hosted a show called Non-Stop Nani and true to its name it was a nonstop success. He has also worked as an assistant director under the likes of late Bapu among others. One of Nani’s major strengths is his voice modulation, the way he modulates the voice perfectly according to the scene makes him a very good actor apart from a big star.

Following are some of my most favorite Nani performances starting from Ashta Chamma across different genres.

1 Ashta Chamma: In this Indraganti Mohankrishna directorial Nani played a village head burdened by the responsibilities of delivering justice. In order to make his life more enjoyable the character Rambabu often goes to the city leading a dual life. Nani impressed everyone with a skilful performance particularly in the scenes of desperation. He raised ample chuckles in the combo scenes with Srinivas Avasarala. It was a very confident performance without any rawness of a debut actor.

2 Yevade Subramanyam: Nag Ashwin’s directorial debut was a very daring one with the themes of materialism and self discovery among others. In this movie Nani played a young man obsessed with numbers and climbing the social ladder. Nani’s character of Subramanyam resonates with many young men even today. Nani portrayed the role of Subramanyam in a very mature manner whether it is his initial attitude of success at any cost and the eventual transformation that Subramanyam goes through. Although it isn’t a crowd pleasing role still Nani made the character relatable maybe for every generation.

A still from Yevede Subramanyam

3 Jersey: In Jersey Nani played the role of an ex cricketer making a comeback after a long time. The role of Arjun comes with numerous shades and a lot of emotional turmoil, Nani did a fantastic job in bringing alive the different emotions whether it is the helplessness of a father who doesn’t have much money or inner turmoil Arjun goes through at various stages. The scenes between Nani and the child actor played by a wonderful Ronit Kamra were a major ace of the film.

Nani and child actor Ronit Kamra

4 Bhale Bhale Magadivoy: In this comic entertainer Nani was an absolute riot as a happy go lucky guy suffering from major memory loss. He brought the house down on multiple occasions like the scene where Murali Sharma character comes to the house. The way he covers the memory loss in front of the heroine was truly a laughter ride. Apart from humorous scenes Nani also shined in the emotional ones where Lucky losses the trust of the heroine. A specific emotional outburst between Nani and the mother showed the actor’s all round ability.

Nani was an absolute riot

5 Ninnu Kori: Ninnu Kori saw Nani in a grey shaded role. An hurt ex lover who firmly believes that the heroine played by Nivetha Thomas has not gotten over him. In the second half there are numerous scenes of hurt along with bitterness and Nani made the viewers feel the pain of Uma. He did a fantastic job in portraying the grey areas getting empathy from the viewers in spite of the not so likeable actions.

6 V: Indraganti Mohankrishna’s V didn’t completely satisfy the fans of action thrillers. The movie suffered from predictable character arcs, having said Nani truly had a blast with his character. It was very clear that he relished the dark shades and the freedom of not playing a hero bound by morality. Nani’s performance majorly uplifted the movie. A specific mention must be made of the scenes with the passengers. The dark humor in them and the way Nani portrayed it was a delight to watch.

Nani in V

7 Hit 3: Hit 3 saw Nani in his boldest avatar a psycho cop known for brutal violence. There is a lot of violatilness to the role and Nani simply aced it. He carried the movie on his shoulders with brilliant intensity. At the same time what makes the performance stand out is Nani’s ability to generate humour through serious dialogues. The actor’s Hindi in a scene where he interrogates a Kashmiri criminal is a very good example of this. Nani also turned the charm on in the romantic track with Srindhi Shetty, it was very smartly integrated into the main plot.

Nani as the psycho cop Arjun Sarkar known for his brutal violence

Going by his career graph so far it’s clear that Nani has long term goals in satisfying both himself and the audiences. A clear indication of this is him backing new talent and promoting diverse stories both as an actor and producer.

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Hit 3: Nani’s mass jathara

Nani as the psycho cop from Hit The Third Case

The rooted texture of the first two Hit movies is absent here. The third part comes across as more of an ultra mass showreel for Nani, nevertheless the actor’s intense performance coupled with his swag as well as Sanu Varghese’s cinematography makes it a delightful watch for fans of violent investigative dramas, for the rest it might feel like an ovedose

Starcast: Nani, Srinidhi Shetty, Samuthrikani, Rao Ramesh and others

Genre: Action

Director and writer: Sailesh Kolanu

Producer: Prashanti Tripirneni

Production Companies: Wall Poster Cinema and Unanimous Productions

Music: Mickey J Meyer

Cinematography: Sanu Varghese

Running time: 2 hours and 30 minutes

Sailesh Kolanu’s directorial debut Hit 1 also called as Hit- The First Case released with minimal expectations but surprised everyone with its taut storytelling. It was a major success for its leading man Vishwak Sen who hasn’t been to capitalize on the strong foundation given by the movie. In spite of the logical loopholes and a weak climax it came across as a fresh of breadth air from the formulaic storytelling. The second part of Hit with Adavi Sesh was an ever bigger success, now you have the third part with Nani. Over the last few years Nani’s stardom has increased significantly thanks to his versatile roles and overall persona. Among the mid budget heroes Nani has made rapid strides establishing himself as a star actor. An outsider who has risen to the top with sheer handwork.

Vishwak Sen, Adavi Sesh and Nani from the first three Hit movies and now Karthi in the upcoming Hit 4

The one line story for all the Hit movies would be police officers belonging to the Homicide intervention team dealing with twisted criminals. The third installment of this growing franchise is no different. Nani plays Arjun Sarkar a psycho cop with his own methods, he treats criminals in an extremely brutal manner often indulging in custodial violence. According to him a criminal who cannot reformed should be buried under the ground. The movie focuses on a series of murders following a similar pattern and how Arjun Sarkar infiltrates a particular psychotic gang.

It goes without saying that Nani’s histrionics is the biggest asset of Hit 3. The actor completely imbibes the intensity of Arjun Sarkar starting from the aggressive and ruthless body language. Arjun Sarkar is someone who comes with a streak of short temperedness making him very volatile and Nani absolutely nails the different nuances. At the same time he also raises ample chuckles even in serious situations. Nani’s use of Hindi language in a scene involving a Kashmiri criminal deserves a specific mention. In the action sequences the actor truly comes across as a one man army with the ferocious attitude.

Nani as the violent cop

However there is also a different side to Arjun Sarkar in the portions with the leading lady Srindhi Shetty. There is a visible softness in the scenes of understated romance and Nani completely turns the charm on.

Apart from Nani’s first rate act Sanu Varghese cinematography is also of a very high order whether it is the Kashmir portions or the second half when the movie moves into a survival drama. The way he has captured the high voltage action sequences of the second half is a delight for action junkies. The location of a dense forest set in Arunachal Pradesh becomes an important character in itself too. Mickey J Myer’s songs are all right but his background music is more impactful in the intense moments.

Srindhi Shetty starts off as a typical love interest but the way Sailesh integrates her track into the main one with a certain twist makes their portions more than just your standard love story. Srindhi Shetty gives a good account of herself. Samuthrikani as Nani’s father gives the movie some much needed light moments. The sequences of banter between Nani and Samuthrikani is fun to watch. Adavi Sesh in an extended special appearance makes his entry at a critical juncture, he reprises his role of KD from the second part. The actor is usual charismatic self.

Nani and Srinidhi Shetty

Talking about the portions of custodial violence on some occasions Arjun Sarkar is questioned about his brutal methods by his boss specifically in the Kashmir segment. A major unrest happens in Kashmir due to Arjun Sarkar’s handling, this eventually leads to him being transferred as well. Sailesh Kolanu doesn’t dig deep into the criticism that Arjun Sarkar faces and on numerous occasions the movie seems to be celebrating the violent attitude of Arjun. However the purpose for which Arjun is fighting makes a huge difference unlike SJ Suryah in Saripodhaa Sanivaaram an unhinged cop who takes out his frustrations on a group of innocent people.

A major problem with Hit 3 is the lack of a strong villain. Pratik Babbar as the leader of a twisted online gang is suitably psychotic but fails to make a major impact due to the weak characterization. Sailesh attempts to make a social comment on the consumption of violence with the scenarios resembling the Korean web show Squid Games but this track needed more texture.

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‘Court-State Vs A Nobody: Delivers an important message on the misuse of POCSO

The set up of ‘Court- State VS A Nobody has certain elements from the Jolly LLB movies. Much like Arshad Warsi and Akshay Kumar Priyadarshi also plays an underdog lawyer waiting to prove his mettle. The movie does suffer from logical drawbacks particularly in the second half still the performances coupled with the emotional core make it sail through
  • Starcast: Priyadarshi, Harsh Rohan, Sridevi Appala, Sivaji, Saikumar and others
  • Director and writer: Ram Jagadeesh
  • Genre: Legal drama
  • Additional writers: Karthikeya Srinivas and Vamsidhar Srigiri
  • Music: Shravan Bhardwaj
  • Producer: Prashanti Tripirneni
  • Banner: Wall Poster Cinema
  • Running time: 2 hours and 29 minutes

Before dissecting ‘Court- State Vs A Nobody it is necessary to applaud Nani for backing a social issue like this through his production house Wall Poster Cinema. While it is debatable on why back a movie showcasing the negative side of POCSO instead of a positive one at the same time though a subject showcasing the misuse of POCSO is also necessary to make people more aware about the law. In the age of pan India cinema where there is an increase of macho heroes stories of underdogs standing up for the marginalized sections is very important.

Nani should be applauded for backing a social issue like the misuse of POSCO in the age of Pan India cinema

The core plot of ‘Court- State VS A Nobody revolves around the false imprisonment of a 19 year old boy Chandrasekhar (Harsh Rohan). Chandrasekhar hails from a poor family, he isn’t into studies much, instead he juggles between multiple part time jobs. On the other hand you have Jabilli (Sridevi Appala). Jabilli come from a rich family. Mangapathi (a terrifying Sivaji) plays the powerful uncle. Mangapathi is a despicable bigot with regressive views. Jabilli and Chandrsekhar slowly fall in love, the situation takes a very dark turn for Chandrasekhar when Mangapathi with his influence and connections falsely implicates Chandrasekhar under the POCSO which is actually meant to punish sexual preparators. The rest of the story focuses on how Priyadarshi’s Surya Tej gets involved with Chandrasekhar eventually delivering justice.

The first half alternates between a budding love story and Surya Teja’s attempts to establish himself as a solid lawyer. Both these segments have their high points at the same time a certain repetitiveness also creeps in the portrayal of teenage love. The initial conversations between Chandrasekhar and Jabilli on the phone feel like a series of verbal abuses but things start getting better when they actually fall in love. The tender moments between them in particular leave a strong mark. The audiences feel very sorry for Chandrasekhar when he is falsely accused and root for him to come out safe.

The complexities involved in a legal case like this and how this makes the situation very difficult for Chandrasekhar has come out well in both the writing and direction. The director also does a very good job in exploring the psyche of Mangapathi. The way he behaves likes a self appointed custodian is representative of the numerous bigot male family members that we do read and also come across in real life. By its very nature Mangapathi character is loud, Sivaji delivers a terrific performance fully embodying the class and caste fanaticism of Mangapathi. The senior actor is truly having a fantastic second innings. First the role of a strict yet lovable father in the web series ’90’s a middle class biopic and now this.

The characterization of Surya Tej coupled with Priyadarshi solid act is another plus for the movie. Surya Tej is an underdog with major ambitions of making it as big an independent lawyer. There is a crucial point in the movie where Surya Tej feels cheated due to an important CCTV footage. There is a palpable pain in the way Surya Tej expresses his anger to Chandrasekhar’s friends.

Through the character of Surya Tej the focal point of the movie which is the misuse of POCSO has come out very well. There are important dialogues where Surya Tej talks about the judicial system needing to follow a certain discretion by understanding the difference between an act of rape and a supposed sexual act. He also breaks the societal stereotypes by talking about how a boy and a girl being in one room doesn’t always mean sexual intimacy. In the same scene valid points are also made on making the citizens more aware about the laws of our country. This aspect comes out in the dialogue where Surya Tej talks about the one mistake which Chandrasekhar did by going into the room with Jabilli.

Talking about the courtroom drama some parts in the screenplay suffer on discrepancies. For example allegations on Chandrasekhar are accepted without any medical examination along with the fact that it takes so long for Jabilli to make an appearance in the court.

Given the nature of the movie there isn’t much scope for the cinematography department still the courtroom setting has an authentic feel. There is only one song in the movie which is a love ballad called Premalo. It’s quite a tuneful number capturing the teenage love perfectly.

Premalo song perfectly captures the teenage romance

As far as the young leads go both Harsh Rohan and Sridevi Appaalla do a very fine job in making the viewers emphasize with the characters. Harsh Rohan though has the tougher role given the background of Chandrasekhar. He gets the more emotionally demanding scenes and the young actor makes full use of it. Mention must also be made of Sai Kumar as a top lawyer and the boss of Surya Tej. There’s a very crucial scene where his character gives an advice to Surya on the importance of bouncing back and how a lawyer should properly perceive the case scenarios before coming to the conclusion of who is right and who is wrong. Rohini as Jabilli’s mother lends a quiet strength in the scenes where she finally understands her daughter and gives it back to Mangapathi. Harshvardhan as the cunning lawyer does a fairly impressive job although his character arc could have been better designed.

‘Court- State VS A Nobody is an admirable attempt at portraying an important social issue. In spite of the logical lapses the movie benefits from a strong emotional core.

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Saripodhaa Sanivaaram: A whacky tale of hot-headed men in a commercial format

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.

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Best Of Tollywood 2023: These Telugu Films Not Only Made Good Business But Also Won The Hearts Of Audiences With Their Content

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 Balagam also 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
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.

Miss Shetty Mr Polishetty best telugu films 2023
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
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.

best of tollywood 2023 telugu films virupaksha
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
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
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 Animal which was also released in December.

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Hi Nanna: A Heart Touching Tale Of A Father’s Love For His Daughter

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 Shouryuv makes 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.

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Kumari Srimathi Season 1: A Heartwarming Tale About A Female Entrepreneur

Director Gomtesh Upadhye presents an enjoyable story with relatable characters

Kumari Srimathi web series season 1 (Telugu)          

Starcast: Nitya Menon, Gautami, Talluri Rameshwari, Prem Sagar Rajulapati and others guest appearance (Nani )

Direction: Gomtesh Upadhye

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.

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Dasara: A Rustic Revenge Drama Bolstered By The Lead Actors’ Performances And The Atmospherics

Nani & Keerthy’s show all the way!

Dasara (Telugu)

  • 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.

Verdict

Watch Dasara for Singareni and Nani.

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Hit 2: A Taut Police Procedural That Is More Gripping Than Its Predecessor

Leaves you excited for the third part.

HIT: The Second Case (Telugu)

  • Cast: Adivi Sesh, Meenakshi Chaudhary, Suhas, Rao Ramesh, Tanikella Bharani, Posani Krishnamurali, Komalle Prasad, Srikanth Iyengar, and Maganti Srikanth
  • Director: Sailesh Kolanu
  • Producers: Prashanti Tipirneni and Nani
  • 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.