Tag: Prabhas

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Kannappa: A devotional second act saves the day

Manchu Vishnu in the role of Kannappa.

Manchu Vishnu donning multiple hats of an actor and writer takes a while to find his footing, however he comes into his own in the moving post interval portions specifically the climax. For Shiva devotees Kannappa will be a delight. Akshay Kumar as Shiva lends in the right amount of serenity and Prabhas as Rudra makes his presence amply felt in an extended special appearance.

Starcast: Manchu Vishnu, Akshay Kumar, Kajal Aggarwal, R SarathKumar, Mohan Babu, Preity Mukhundan, Prabhas, Mohanlal etc

Genre: Devotional

Director: Mukesh Kumar Singh

Story and screenplay: Vishnu Manchu

Producer: Mohan Babu

Production Companies: AVA Entertainment and 24 Frames Factory

Music: Stephen Devassay

Cinematography: Sheldon Chau

The story of a tribal hunter turned shiva devotee Kannappa is an important part of Indian mythology. The tale of Kannappa is closely connected with Srikalahasteeswara temple in Andhra Pradesh. The story of Kannappa was brought to life by the moving Bhakta Kannappa played by an excellent Krishnam Raju. The movie was a major commercial success and is remembered fondly to even this day.

Vishnu Manchu’s Kannappa is an modern adaptation of Bhakta Kannappa with added commercial elements. The destination is the same, but the packaging varies. For those who haven’t seen Bhakta Kannappa the plot of this one revolves around Thinnadu (an earnest Manchu Vishnu). He is a fierce hunter rejecting anything connected to god and divinity. He is far removed from the world of faith. R Sarathkumar as Nathanathudu plays the village head of a particular tribe. Nathanathudu is the complete opposite of his son Thinnadu, in spite of not liking his son’s views towards god Nathanathudu never forces his religious beliefs on him. The story essentially looks at the transformation of Thinnadu when he stumbles upon an Shiva Lingam changing his entire outlook towards religion and the existence of god. This is the story in brief.

Before getting deeper into the movie its necessary to get the comparisons out of the way. Manchu Vishnu is no Krishnam Raju and that is very visible in the initial portions. His warrior like presence has a certain stiffness, at times he seems to be aping Prabhas in the action and romantic portions. However Manchu Vishnu slowly starts to grow on the viewers getting the soul of Kannappa right. As earlier mentioned the post interval portions are far more engaging a big reason for this is Manchu Vishnu’s act, his portrayal of Shiv bhakt embracing a trance like state is excellent. In the climax where he removes his eyes has a wonderful intensity moving the viewers. Mention must also be made of Manchu Vishnu’s act in the fiery dialogues where he questions the act of human sacrifice in the name of rituals.

Prabhas as Rudra also plays a major role in making the second half better. The screen time of Prabhas is short but the interactions with both Mohan Babu and Manchu Vishnu are a perfect blend of humor and philosophical wisdom. He adds significant depth to Kannappa’s spiritual journey.

Prabhas as Rudra

The father and son dynamics between Thinnadu and Nathanadu also has some nice touches. An emotional conversation featuring the ghost of R Sarathkumar and Manchu Vishnu touches the viewers heart in particular. R Sarathkumar lends a certain dignity to his part.

Coming to others senior actor Mohan Babu as Mahadev Shasthri has a commanding presence, he nails the arrogant nature as expected while also shining in the sequence showcasing remorse. Mohanlal in a completely new look brings his signature gravitas. His pre interval sequence with Vishnu setting the base for the second half is nicely done.

The devotional songs of the second half also lift the movie. The song Shiv Shiv Shankar in particular is well tuned, it makes for a good watch and listen. Sheldon Chau’s cinematography is of a good order too. He does a fine job in capturing both the vast landscape and also the mythical moments through his lens.

A major problem with Kannappa is the attempt to make the story more pan India. The love portions featuring the two leads feels completely out of place, they feel more situated for a modern love story rather than the story of a non-believer turned devotee. Preity Mukhandan has a fiery presence starting off with promise but soon she just turns into a regular commercial heroine. The overdose of skin show leaves a bitter after taste occupying more space than necessary. Even the romantic songs featuring the two also lengthen the running time rather than aiding the narrative. The war sequences feel straight out of Bahubali and Hollywood movies. The clumsy CGI in some places don’t help matters either.

The likes of Bramhanadam and Saptagiri also feel out of place. The first half needed a much tighter edit, the village conflicts and the battle to protect a sacred lingam needed to be shortened since the main crux of Kannappa is the transformation story.

Final word: Kannappa is a delight for Shiv bhakts specifically the intense climax, its a sincere effort to bring alive the tale of a non believer turned devotee for the modern generation.

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Kalki 2898 AD: A gutsy attempt at mixing dystopian world with Mahabharata

Nag Ashwin proves his capability as a versatile director, the movie works best when it focuses on Prabhas and Amitabh Bachchan

  • Starcast: Prabhas, Amitabh Bachchan, Kamal Haasan, Deepika Padukone, Saswata Chatterjee, Pashupathy, Anna Ben and others
  • Special appearances: Mrunal Thakur, Dulquer Salman, S.S Rajamouli, Vijay Devarakonda, Ramgopal Varma etc.
  • Story, direction, screenplay and dialogues: Nag Ashwin
  • Additional screenplay: Rutham Samar
  • Additional dialogues: Sai Madhav Burra and B.S Saewagna Kumar
  • Producer: C. Ashwini Dutt
  • Production Company: Vijayanthi movies
  • Cinematography: Djordge Stojilijkovic
  • Music: Santhosh Narayan
  • Genre: Science fiction
  • Running time: 3 hours and 1 minute

The track record of Indian cinema with science fiction/futuristic worlds is pretty abysmal. A major reason for it is the necessity of masala elements where the hero has to do romance, comedy and action while saving the world. Rakesh Roshan’s Krrish movies though not seamless did a good job in mixing Hollywood tropes with Indian Masala. Ayan Mukherjee’s Bramhastra was high on visuals, but a weakly written love story coupled with erratic characterizations made the movie just about an average watch. Last year Vikas Bahl made an attempt at directing a movie set in a futuristic world where the society is divided into two and poverty is at an extremely high level. Ganapath ended up being more about Tiger Shroff’s somersaults and was roundly rejected by the audiences.

Now you have Nag Ashwin’s Kalki 2898 AD also set in a futuristic world. The two-film old director has already created a niche for himself with Yevade Subramanyam and the biopic Mahanati on the legendary actress Savitri. Mahanati in particular is a challenging movie given that it is based on a very beloved actress who is admired by many, but he did complete justice to her life. With Kalki 2898 AD the director has pushed himself even more and let his imagination fly high. For example, he makes you believe that there would be a future where women would have zero autonomy over their bodies and the need for capitalistic gains will wipe out cities. In spite of obvious similarities to Dune and the Mad Max films Nag Ashwin delivers an impressive concoction of sci fi elements with mythology. But the women characters are a major weak spot, and the random love story of Prabhas with Disha Patani is a major speed breaker.

Kalki 2898 AD moves along multiple timelines starting from the Kurukshetra war. Amitabh Bachchan is Ashwatthama who is cursed with immortality by lord Krishna. On the other hand, there is the dystopian landscape of Kashi, the world’s last city. However, it is in complete shambles. The mighty Ganges is in a parched state and food is naturally scarce. There is a towering structure called Complex governed by Yaskin played by Kamal Haasan. He rules the place with an iron fist. Inside the Complex there are many fertile women who have been put on an experiment. Deepika Padukone’s SUM-80 alias Sumathi is an employee who is supposed to make sure that these fertile women get sufficient food and medicine. But there is a twist here; Sumathi who has been considered infertile for ages is now five months pregnant. Then you have Shambala a place for refugees from different faiths and cultures. They are putting their lives at stake for a better future.

Bhairava (Prabhas) wants to escape from the dreariness of Kashi and get into the Complex. He has AL car Bujji (with a fun voiceover by Keerty Suresh). There is a constant banter between them which gradually develops into a strong bond. Bhairava is a selfish man who is unaware of his destiny. As the story progresses Bhairava’s life gets intermingled with Ashwatthama, Sumathi and the people of Shambala.

For a movie like this a seamless blend of special effects and cinematography is very necessary and Kalki 2898 AD scores full marks in this department. The high-octane action sequences between Amitabh Bachchan and Prabhas in particular is a major highlight. Thankfully Nag Ashwin doesn’t show Bhairava as invincible, on more than one occasion we see him getting hurt. These scenes are also sprinkled with humour that bring a smile. Nitin Zihani Choudary’s production design also deserves a particular mention in how he creates an imaginary landscape that immerses the audiences.

Director Nag Ashwin also deserves distinction marks for how he integrates the Kurukshetra episode in the film. The emotional turmoil of Ashwatthama and his quest for repentance strikes a chord. Amitabh Bachchan delivers a stellar act overshadowing Prabhas on occasions.

Prabhas as Bhairava has a role that comes with different shades. There is humor, and he also comes across as not so likeable. Prabhas does complete justice to both. His interactions with Keerty Suresh’s Bujji add a lot to the movie.

Kamal Haasan as the evil Yaskin has a brief role but he sends down a chill with his intimidating act.

Santhosh Narayanan’s music lacks good songs but he more than compensates it with a powerful background score.

Kalki 2898 AD has many cameos from actors and directors. Out of these Ramgopal Varma and S.S Rajamouli are fun to watch. There is a Baahubali reference where Prabhas jokingly says about how he gave 5 years to that project, it definitely raises a chuckle. Among others Mrunal Thakur is impressive in her brief role.

A big flaw of Kalki 2898 AD are the two female leads. Disha Patani is only used for glamour and one completely out of place song. Deepika Padukone on the other hand plays a pregnant woman mirroring her real life. She is mostly required to look petrified, and the expressions irritate after a point.

The movie’s runtime could have been crisper with lesser cameos. For example, Dulquer Salman and Avasarala Srinivas don’t add anything significant with their presence.

A caution: Too many good directors going into the dystopian landscape is something that the industry should be careful about.

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Salaar Part 1: Prashanth Neel Delivers The Perfect Mass Comeback For Prabhas

The film can be described as Kannada’s Game of Thrones with the ambience of KGF films. Prithviraj Sukumaran makes his presence amply felt as the parallel hero

  • Rating 3 out of 5
  • Starcast: Prabhas, Prithviraj Sukumran, Sreya Reddy, Jagapati Babu, Shruti Hassan and others
  • Director and writer: Prashant Neel
  • Dialogues: Sandeep Reddy Bandala, Hanumaan Choudary, Dr. Suri and others
  • Producer: Vijay Kiragandur
  • Production Company: Homabale Films
  • Based on: Ugram ( Kannada movie) by Prashant Neel
  • Genre: Action drama
  • Running time: 2 hours and 58 minutes
  • Published in: Primepost

Not much was expected from Prashanth Neel when the first KGF released but the action drama surprised one and all with its box office numbers. Originally made in Kannada, the film also released in Hindi clashing with Anand L Rai’s Zero and completely outsold the SRK starrer. The raw action and Yash’s swag coupled with the backdrop of Kolar Gold Fields made it a huge success.

The second part of KGF went on to do even bigger business. The buzz around Salaar has been huge since its inception, this in spite of Prabhas’s lackluster form in the recent past. A lot of hopes were pinned on Salaar and thankfully the director has given the perfect mass treat that rewinds memories of Chatrapathi. However Salaar isn’t for those who despise macho heroes and are not huge fans of the KGF films.

Shruti Haasan, Prashanth Neel and Prabhas

Salaar begins with establishing the ultra strong friendship of Deva (Prabhas) and Vardha (Prithviraj Sukumran). They have each other’s back in both good and bad times. The very first scene of Salaar has Deva fighting a seasoned wrestler just to get Vardha’s nathooni back (a particular nose ring that the clan wears). Later on we see Vardha saving Deva and his mother (Easwari Rao) from his father’s men. In this process Vardha also sacrifices a major part of the territory his clan owns. That night Deva and his mother vanish. But before going Deva takes a promise from Vardha that he should not hesitate in reaching out for his help in times of distress.

From here the story goes into a flash forward where Deva and his mother are living in Assam. Through some vague hints we understand that Deva has sworn to his mother to never touch a weapon again. The mother in fact is so touchy even when she sees a plastic knife. All this changes with the entry of Aadhya Krishnakanth (Shruti Hassan with a heavy American accent); her life is in danger for reasons that will become more clear in the second part. Things take a turn when Deva’s mother frees Deva from his promise, in order to save Aadhya. This results in Deva smashing a lot of people to pulp.

Shriya Reddy makes a solid impression

The second half is entirely devoted to a dystopian city of Khansar that has several tribes with distinct characteristics. The politics and the character dynamics of this dystopian city are similar to the popular web show Game of Thrones.

Not surprisingly the biggest strength of Salaar is the strong brotherhood showcased between its two main leads. Deva’s intense affection for his friend is reminiscent of Ranbir Kapoor’s character in Animal. There is also a Mahabharata touch in how they are shown to be fierce warriors.

Easwari Rao plays Prabhas’ mother

Prabhas shares most sparks with Prithviraj and that is clearly visible on more than one occasion. For example there is a scene where both of them take on some drug infested zombies. It is a sequence that enthralls the masses. The two actors are also seen indulging in banter amidst the fight and have some hilarious punch lines.

The world building of Khansar has also been done well. Bhuvan Gowda’s cinematography is top notch. He effectively captures the tumultuous atmosphere of this fictional city. Some of the themes explored in the second half are right to leadership and loyalty among others. Prashanth Neel has done a good job in exploring these themes.  Ravi Basur’s soundtrack goes well with the mood of the film. Thankfully there is no forced romantic subplot between Prabhas and Shruti.

Shruti Haasan’s American accent is irritating

Shruti Hassan’s put on American accent is irritating to say the least. In fact most of the women characters in Salaar are relegated to the background (of late most big action movies are doing the same). The only actress who makes a solid impression is Sriya Reddy. She plays the firebrand daughter of Jagapathi Babu’s Raja Mannar.

The second half has an overdose of violence which will be off putting for a section of audiences. The film’s runtime is almost three hours; some portions of the film could have been trimmed or chopped.

Prabhas plays a mostly brooding character who does not even break into a smile. The actor has not got many dialogues but he is successful in portraying the raw aggression. Prabhas particularly shines in the scenes with Prithviraj.

Prithviraj Sukumaran as a parallel lead more than makes his presence felt

Prithviraj Sukumaran as a parallel lead more than makes his presence felt. The actor does a solid job in portraying both the vulnerability and the determination of a future successor caught in the power struggle. The actor’s own dubbing of Telugu does take some time in getting used to but it is not a major hindrance.

Salaar part 1 ends on a cliffhanger that sets a good base for the second part, there are indications that this brotherhood may turn into enmity.

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Prabhas: The rise and decline of the ‘Baahubali’ star

Here’s an overview of how Rebel Star Prabhas has gone from a strong force to a pale shadow of himself, post-‘Baahubali’.

Prabhas made his debut with Jayanth C Paranjee’s Eeswar in 2002. He has been part of over 20 films to date. His most famous projects include Varsham (2004), Chatrapathi (2005), Darling (2010), Mr Perfect (2011), Mirchi (2013), and of course the Baahubali (2015 & 2017) films.

Of the 20-plus films, only eight are hits at the box office. The rest of them have either done average business like his first film Eeswar or have been complete disasters like Munna, Yogi, and Rebel.

So, it is not that Prabhas hasn’t seen flops before, but his once magnetic screen presence has seen a total dip after the world-famous Baahubali. Also, the actor has become too macho leaving little or no space for other emotions like vulnerability.

Machoism and sentiment

His debut film Eeswar was a typical “rich girl loves poor boy” story filled with all the clichés that we associate with the genre. Despite this, he made an impressive debut, for there was certain ease in his acting.

There was a time when Prabhas made efforts to cater equally to both masses and classes. For example, SS Rajamouli’s action-drama Chatrapathi was meant to make him the darling of the masses.

The director presented him as macho, but there were also some solid emotional moments beneath all that action. Prabhas more than stood his own, even opposite a senior actress like Bhanupriya. His scenes with over-the-top Shafi also showed a different side of the actor.

Romance and action

In Varsham and Mirchi, the Rebel Star struck a perfect balance between a romantic and an action hero. His romantic scenes with both Trisha and Anushka Shetty respectively had many adorable moments.

In between, he also tried his hand with a classy period film like Pournami (2006).  Of course, it also had its share of action scenes. But there is also a hugely vulnerable side of Prabhas, especially in his scenes with Trisha.

Pournami wasn’t a blockbuster when it was released but it continues to be a film that is remembered fondly by the class audiences.

The likes of Mr Perfect and Darling, on the other hand, established Prabhas as an out-and-out lover boy. Contrary to the title Mr Perfect, his character Vicky isn’t flawless. There are times when he comes across as too selfish. But Prabhas managed well to balance the different shades of his character.

The Baahubali films directed by Rajamouli, of course, took the stardom of Prabhas to a different level. Baahubali 1&2 allowed him to portray different shades — a fierce warrior, a righteous prince who stands up for his beliefs, a loving husband, etc.

But, since then, things are on downhill with Saaho (2019), Radhe Shyam (2022) and the latest Adipurush (2023). There could be multiple reasons for these disasters, but the chief reason is they did not match up to the expectations after Baahubali.

In the case of Saaho, director Sujeeth made a mess of what was essentially a revenge drama with an underworld background. The plot was convoluted unnecessarily with too many characters.

Sujeeth tried to show some 50 shades of Prabhas. But in the process, the style took over substance. Chunky Pandey as Devraj was the only actor in the supporting cast who made any impression.

As for the Baahubali-star, he comes across as rather bored for most of the movie. There is a lazy attitude that we see in the actor and this makes Sahoo even worse. The close-up shots did not exactly help either.

Radhe Shyam: Another debacle

Radhe Shyam directed by Radha Krishna Kumar was an interesting attempt given that it is a love story where there are no human villains. You don’t have any action scenes where Prabhas takes on the baddies. Here, it is fate that plays spoilsport.

And the conflicts arise from his destiny, not his fellow human beings. Though Radhe Shyam was a complete departure from Saaho in many ways, the box office result was the same.

To the credit of Prabhas, he did put in a sincere performance. But the romantic side wasn’t as convincing as in Mr Perfect. He did try to rise above the muddled script.

The biggest reason behind Radhe Shyam’s failure was the lack of clarity on the part of director Radha Krishna Kumar. It was not clear at any point whether he was supporting science or astrology. It also didn’t help that Prabhas and Pooja Hedge’s chemistry was far from convincing.

Adipurush: More of a video game

Now to the latest Adipurush. Om Raut’s take on the Ramayana is something that writer Valmiki would cringe at. With the weird tonality that the director adopted Adipurush became more of a video game than the story of Lord Rama.

Apart from the lapses in the story, the performance of Prabhas was also rather laboured. There was no attempt on his part to get into the headspace of Rama. The actor treated it as any other mainstream character.

The magnetic presence associated with the actor is also completely missing in this film. His broad frame did not help in any way. Forget about NT Rama Rao, even others who acted as Rama fared much better.

And now, for the Baahubali actor to return to form, he needs to do two things seriously — choosing his scripts wisely and getting rid of his laziness in acting.

Let’s hope that his forthcoming Salaar and Project K would bring out the better version of the actor!

https://thesouthfirst.com/entertainment/prabhas-the-rise-and-decline-of-the-baahubali-star/

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Adipurush: Prabhas’s Latest Outing Is A Misfire Of Epic Proportions

In spite of all the resources available, Om Raut has delivered an absolutely subpar film that makes a mockery of the ‘Ramayana’.

Prabahs-starrer Adipurush was one of the most keenly anticipated movies of this year. It was expected to be a mega-comeback for the actor.

However, since the release of its teaser, it has been hitting the headlines for the wrong reasons more often than for the right ones.

Only the songs have managed to create some buzz. Unfortunately for Prabhas, Adipurush is going to be another severe setback after Saaho (2019) and Radhe Shyam (2022).

A subpar film

In spite of all the resources available, director Om Raut has delivered an absolutely subpar film that makes a mockery of the Ramayana.

Om Raut made a smashing Bollywood debut with his first film Tanhaji: The Unsung Warrior (2020). Ajay Devgn played the title role in it.

Saif Ali Khan was the chief antagonist, playing Aurangzeb’s trusted guard Udaybhan Singh Rathore.

In spite of its hyper-nationalism, Tanhaji still worked primarily because of the performances, and also the scale on which Om Raut mounted the film.

I won’t go into the story of Adipurush as Ramayana is an epic that needs no introduction. So, let’s delve straight into the analysis.

Before getting into the negatives, it is necessary to mention the few positives that Adipurush has.

To give credit where it is due, the music and the background score do manage to pump in the much-required emotions.

The movie begins with the wonderful song “Ram Siya Ram“. Manoj Muntashir’s lyrics coupled with his singing make the track an absolute winner.

“Jai Shri Ram” has a robust energy which makes the audience sit up.

The background score done by Ajay-Atul and Sachet-Parampara is rousing.

A particular mention must be made of the background score whenever Saif Ali Khan’s Raavan comes on screen.

Saif as Raavan

Saif Ali Khan clearly has a ball playing Raavan and it shows in every scene. Thanks to his strong screen presence, the actor brings a certain energy that uplifts the film considerably.

Yes, the part does remind you of Ranveer Singh’s Allauddin Khilji in Padmaavat (2018) and also Saif’s own Udaybhan Singh Rathore. But still, there is no denying the impact of Saif.

Saif has always been at his best when not playing the typical hero and this thunderous performance is proof of that.

Vatsal Seth as Indrajeet deserves a mention. He makes a striking impact in spite of his limited screen time.

Too many flaws

Coming to the shortcomings, Prabhas and Kriti Sanon are easily the weakest links of Adipurush.

The success of the Baahubali films (2015 & 2017) has changed the fortunes of Prabhas, both positively and negatively.

On one hand, it has opened new doors for the actor. But the expectations have also risen many folds.

An important part of his success has always been his magnetic screen presence but that charisma was nowhere visible in both Saaho and Radhe Shyam, particularly the former.

Here, too, Prabhas comes across as rather dull. At no point does he succeed in making the audiences feel that he is Rama, the Ideal Man/God that crores of people in this country worship.

It is very clear that the actor has treated this role as any other mainstream character. At no point does he get into the headspace of Rama.

Kriti Sanon as Sita

Kriti Sanon, on the other hand, does suffer from a sketchy characterisation. She is largely absent in the second half. Even when she is there, she comes across as bland.

Much like Prabhas, Kriti has also failed to internalise her character.

The chemistry required between Prabhas and Kriti Sanon is completely absent.

Weak characterisation

The characterisations of the “Vanar Sena” also leave a lot to be desired. The accent of Devdatta Nage’s Hanuman, in particular, is rather jarring.

Om Raut has tried to give Hanuman a modern touch, but the dialogues are completely out of sync with what viewers generally expect from Hanuman.

Poor VFX

The VFX is another big disaster. Adipurush is a film that is supposed to have been made on a budget of ₹600 crore. But as viewers, you wonder where the budget went.

In spite of the flaws in the story, Brahmastra (2022) was at least a visual spectacle. But the graphics in Adipurush seems to have been designed by amateurs.

The battle scenes, in particular, are both laughable and exhausting. They test the viewers’ patience to the optimum. One wishes to see the end as quickly as possible.

Final take

A runtime of almost three hours makes things worse for Adipurush. Instead of being an epic tale, it turns out to be an epic bore.

(Views expressed are personal.)