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Tiger 3: An Action Spectacle For Fans Of Salman And Spy Movies But This Tiger Doesn’t Pack The Same Punch As War And Pathaan

Emraan Hashmi roars the loudest with his portrayal of the menacing Aatish. Shah Rukh Khan more than makes his presence felt in an extended cameo.

Tiger 3 (Hindi)                 2.5 out of 5            

    • Starcast: Salman Khan, Katrina Kaif, Emraan Hashmi and others; Special appearances (Shah Rukh Khan and Hrithik Roshan)
    • Director: Maneesh Sharma
    • Story: Aditya Chopra
    • Screenplay: Shridhar Raghavan
    • Dialogues: Anckur Chaudhry
    • Music: Pritam
    • Production Company: Yash Raj Films
    • Genre: Action thriller/drama
    • Running time: 2 hours and 36 minutes

In the year 2012 the spy journey of Aditya Chopra and YRF began with the Kabir Khan directorial EK Tha Tiger. It was a love story between a RAW and an ISI agent. Ek Tha Tiger was appreciated for its action and also the love story.

The success of Ek Tha Tiger led to the creation of an entire spy universe like Tiger Zinda Hai, War and Pathaan. Tiger 3 is the fifth film of this universe and there are more to follow.

Maneesh Sharma the director of Tiger 3 had a huge responsibility on his shoulders as all the previous films of this franchise have gone on to become blockbusters. The director’s last film was Fan. Fan had a gripping first half followed by a lackluster and implausible second half. Viewers could clearly see Maneesh Sharma being overwhelmed by the scale of the film and losing focus. Tiger 3 is another example of Maneesh Sharma’s inability to handle stories of large scale. Tiger 3 is not a bad film but in comparison to War and Pathaan it does fall quite short.

Emraan Hashmi roars the loudest

The plot of Tiger 3 focuses on one of Bollywood’s most favorite theme. That is India, Pakistan’s love hate relationship. The mission of Avinash Singh Rathore aka Tiger (Salman Khan) is to prevent a military coup and also the assassination of the Pakistani Prime Minister (Simran modeled on Benazir Bhutto). Tiger’s biggest thorn in the back is a Pakistan agent gone rogue Aatish (Emraan Hashmi).  The biggest desire of Aatish is to take over Pakistan and make sure that no kind of peace happens between both the countries.

Katrina Kaif also reprises her role of Zee Humaimi aka Zoya from the previous two Tiger films. This time around the character of Zoya has a back-story. In this back-story the viewers get to know that Aatish was her former handler. Once upon a time she was a protégée of Aatish but in the present scenario things have changed drastically.

Salman Khan gets into his shoes with practised ease

A big strength of Tiger 3 is the galore of twists and turns at regular intervals. For example in the beginning the viewers are led to believe that Zoya is betraying Tiger by hiding certain information. These twists and turns do keep the viewers on their feet.

Cinematographer Anay Goswamy also does a wonderful job in capturing the many locations of this globe trotter. These include Europe, Russia and Istanbul among others.

The action sequences have plenty of hand to hand combats and are a definite treat for those who like to see raw action. Two action scenes deserve a particular mention. One is the climax fight between Salman and Emraan Hashmi. The other one is Katrina fighting in a towel inside a Turkish hammam or bath. Both these sequences have been brilliantly shot.

Katrina Kaif in her towel fight scenes

As mentioned in the beginning Emraan Hashmi shines the brightest in this cast. His demeanor and the body language are a treat to watch. Emraan plays the ruthless villain without missing a single beat. A special mention must be made of the scenes that Emraan shares with Katrina in the flashback portions.

One of the most enjoyable portions of Tiger 3 is definitely Shah Rukh Khan’s extended cameo as Pathaan. It is a perfect mixture of action and some very witty dialogues. Viewers can clearly see that Shah Rukh is having a blast. In one of the scenes you have Shah Rukh Khan and Salman in a Sholay inspired motorcycle scene. Pathaan is in the driver’s seat and Tiger makes a joke about how the last time this vehicle was driven only one person came out alive. There is also a post credit scene involving Hrithik Roshan’s Kabir from War. The scene doesn’t last long but Hrithik’s swagger is unmissable.

A big problem with Tiger 3 is the overtly simplistic treatment of the issues between India and Pakistan. Director Maneesh Sharma doesn’t bring anything particularly new to the Indo-Pak angle. Tiger 3 operates in a fanciful zone of two rival nations hoping to initiate peace talks and end the fear of war. But these noble intentions do not translate effectively on screen.

Salman Khan and Shah Rukh Khan, a camio scene

The love story between Tiger and Zoya is in the same space as in the previous two films. There is no substantial character development in spite of Zoya’s back-story.

Both Salman Khan and Katrina Kaif get into the shoes of their respective characters with practiced ease. As said earlier Katrina shines in the action sequences but her performance in the emotional ones leave a lot to be desired.

Some of the supporting cast from Tiger 1 and 2 are seen in this film as well. They include Ranvir Shorey and Kumud Mishra among others but they are reduced to side dishes. Revathi as the boss takes over from the late Girish Karnad. Unfortunately the senior actress has been severely underutilized. This is sad because Dimple Kapadia in Pathaan made a terrific boss woman.

Pritam’s music consists of only one good number and that is Ruaan. Pritam’s tune coupled with Arjit Singh’s voice makes it a good hear and watch.  

To sum it up Tiger 3 is a step back for the spy universe but here’s hoping that War 2 and others bring it back on track. 

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Killers Of The Flower Moon: A Hugely Disturbing Story Of American Colonialism

This Martin Scorsese’s directorial might look too long but the end results are hugely satisfying

Killers of The Flower Moon (English)                4 out of 5

Starcast: Leonardo Di Caprio, Robert De Niro, Lilly Gladstone and others

Direction and screenplay: Martin Scorsese

Additional screenplay: Eric Roth

Based on: Killers of The Flower Moon by David Grann

Producers: Martin Scorsese, Bradley Thomas and others

Production Companies: Appain Way Productions, Apple Studios Imperative Entertainment and others

Running time: 3 hours and 26 minutes

Genre: Crime drama

For those who are not aware Killers of The Flower Moon is based on a 2017 novel written by David Grann. The book and the movie is a recreation of the real life killings of Osage community who were in peaceful co-existence with white people. What drove these murders was immense greed of the white Americans. These crimes began after oil was discovered in their lands and Osages began to live a life of wealth.

Director Martin Scorsese and his technical team transports us to the 1920’s so much so that we feel we are actually living with Osages and their experiences.

Killers of The Flower Moon is mostly narrated from the perspective of two white men Ernest Buckhart (Leonardo Di Caprio) and William ‘Billy’ Hale (Robert De Niro). It is a story of how this uncle and nephew duo along with their extended kith and Klan plan to usurp the wealth of the Osages. They do this by marrying the daughter of the head of the Osage community and plotting the murders of her family members.

Robert De Niro, the veteran actor as expected delivers a master class in acting.

Killers of The Flower Moon is a film that grips you from the start. Martin Scorsese along with his technical team transports us to the 1920’s so much so that we feel we are actually living with Osages and their experiences. We feel immense pain to know how a particular community was targeted just because they had mineral rights over their land and became rich with the oil found there. 

Rodrigo Prieto’s cinematography is a major plus for the film. He does a brilliant job in capturing the visual tapestry and also the horror of the events through his lens.

Lily Gladstone more than holds her own opposite both Leonardo and Robert De Niro

The film is essentially dark in nature but having said that there are also moments which bring a smile to the viewers face. Most of these can be seen in the track between Leonardo Di Caprio and Mollie (Lily Gladstone) the woman he falls in love with. The way he flirts with her and their interactions in some parts of the first half are genuinely fun to watch.

There is no denying that Ernest (Leonardo) is a major accomplice to his uncle in this horror but his love for Mollie is also genuine and we do see flashes of regret from him.

Leonardo Di Caprio delivers a fantastic performance

Leonardo Di Caprio delivers a fantastic performance in portraying the complexities of his character. Lily Gladstone more than holds her own opposite both Leonardo and Robert De Niro. The actress does an exceptional job in essaying the inner strength of Mollie. There are scenes where we see Mollie fighting to get justice for her killed family members while suffering with ill health.

Robert De Niro’s character looks like he is doing a lot for the Osage community but deep down is a loathsome monster. The veteran actor as expected delivers a master class in acting; whether it is the scenes of showing mock concern for the killings or the ones where he terrorises Ernest with just a slight shift in his voice.

Of course in the end both of them are caught and put in jail for some years. Millie divorces him and marries another man from her community.

The film is an important reminder of American Colonisation at its worst and what the insanity of greed can do to fellow human beings.

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Ganapath: A Show Reel For Tiger Shroff’s Somersaults

The film begins off as a dystopian drama with some promise but soon becomes a generic Tiger Shroff vehicle with no head or tail 

Ganapath (Hindi)             1 out of 5

Starcast: Tiger Shroff, Kriti Sanon, Amitabh Bachchan, Rahman and others

Writer and director: Vikas Bahl

Producers: Vikas Bahl, JackkyBhagnani, Vashu Bhagnani and others

Production Companies: Good Co and Pooja Entertainment

Runtime: 2 hours and 30 minutes

Genre: Action/dystopian

Vikas Bahl’s Ganapath starts off with a voice over of Dalapathi (Amitabh Bachchan with his trademark baritone). He talks about how a destructive war has led to a world divided in two parts. On the one hand you have the ‘Silver City’ where the rich and mighty are ruling the roost. Their leader is the cold hearted Dalani. On the other hand you have the ‘Garibon Ki basti’. The people living here don’t have sufficient food, water or money. However they are living in a certain hope that a saviour called Ganapath will get them out of this hell. This was prophesied by Dalapathi before he dies. Ironically their saviour Guddu aka Ganapath (Tiger Shroff) is living a super rich life in the Silver City.

Tiger Shroff’s introduction shot shows him waking up with many skimpily clad women swooning over him. This has to be one of the worst hero introduction scenes ever. Guddu works for John English (Ziad Bakari). John English is an aid of Dalani. Things take a turn when John’s girlfriend (Elli AvRam) tries to seduce Guddu and both of them are caught red handed. The rest of the story is about what Guddu’s actual identity is and how he ends up being a messiah for the ‘Garibon Ki basti’.

There is no denying that the story of Ganapath had the potential to be an impactful action drama with some social commentary. However the problem is that director Vikas Bahl had given more focus on Tiger Shroff’s physical agility rather than a well structured film.

Tiger Shroff’s action and swag is very much on point but we have seen Tiger do all these in his previous films so there is nothing new for the audiences. A primary reason why Siddarth Anand’s War remains Tiger Shroff’s best performance so far is that his action in that film was backed by a strong emotional undercurrent. Here it is mostly missing except for a heartfelt speech in the climax. But by that time audiences are well past caring for what is happening on the screen.

Further adding to the woes is the unnecessary Mumbaiya slang which doesn’t make any sense. Kriti Sanon plays an underground rebel warrior called Jassi. Her introduction scene is filled with a few  impressive stunts but soon she ends up being a mere girlfriend with little agency.

The love story between Guddu and Jassi is another sore point. Guddu’s flirting with Jassi is cringe worthy to say the least.

Amitabh Bachchan’s extended cameo is powerful and we wish that he had more screen time. Tamil actor Rahman makes a good Bollywood debut. He brings in much needed intensity to the story.

Another sore point is the shoddy graphics. They make Ganapath look like more of a video game than an actual film.

The fight sequences have been choreographed well but there is no novelty particularly for those who have seen Tiger do action before.

Characters from the ‘Garibon Ki basti’ feel like extras from the sets of Bahubali and KGF films. Their only job is to wait for the saviour to arrive.

To sum it up Ganapath is Vikas Bahl’s worst film till date. This movie makes Shaandar look like a masterpiece.

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Bhagavanth Kesari: A Fan Pleasing Entertainer With A Strong Dose Of Feminism

Anil Ravipudi moves away from his regular style of filmmaking and delivers a moving emotional drama. At certain points the film reminds you of Dangal.

Bhagavanth Kesari (Telugu)          

Starcast: Nandamuri Balakrishna, Sreeleela, Arjun Rampal, Kajal Aggarwal and others

Director and writer: Anil Ravipudi

Producers: Sahu Garapati and Harish Peddi

Production Company: Shine Screens

Music: Thaman S

Running time: 2 hours and 37 minutes

Genre: Action drama

Anil Ravipudi is a director who has been successful in making commercial potboilers that are high on entertainment. The director is known for creating characters that come with specific mannerisms resulting in slapstick humour.

However in Bhagavanth Kesari the director opts for a different route. Anil Ravipudi’s brand of humour is absent for most part except for a few scenes involving Kajal Aggarwal. Here he has written and directed a story that has elements which will both satisfy Balakrishna fans and also give a social message through the character of Sreeleela.

Bhagavanth Kesari (Nandamuri Balakrishna) an ex police officer is the foster father of Vijji (Sreeleela). After her biological father C I Srikanth (R. Sarathkumar) dies in an accident he takes on her responsibilities. As a young child Vijji meets Bhagavanth when he was a prisoner in a jail where her father worked. Bhagavanth feels an emotional connection with her right from the beginning.

Vijji’s mother wanted to join the army but she had sacrificed her dreams. Srikanth feels guilty about coming in the way of his wife’s dreams. His biggest wish was to see Vijji joining the army. Here Anil Ravipudi doesn’t use the army angle to evoke patriotic feelings: it is more for Vijji to overcome her anxiety attacks and become a resilient young woman.

Rahul Sanghvi (a Dashing Arjun Rampal) is a power hungry tycoon who firmly goes by the philosophy of Charles Darwin’s survival of the fittest. Rahul and Bhagavanth have a bitter past that resurfaces – the usual template between a hero and villain. In a nutshell the story is about how Vijji emerges as a strong woman both physically and mentally and how Bhagavanth helps her to achieve it.

The biggest USP of Bhagavanth Kesari is easily the emotional drama between Bhagavanth and Vijji. Bhagavanth is someone who firmly believes that girls need to be raised like lions and this clearly shows in how he pushes her to do certain things. Vijji’s interests lie more in marrying the love of her life. In these portions Bhagavanth’s attitude reminds the viewers of Aamir Khan’s Mahavir Singh Phogat.

There is a scene where VIjji’s boyfriend comes with his father for the marriage proposal. The prospective father-in-law has a very dismissive attitude of Bhagavanth’s aspirations regarding Vijji. He says that it’s enough that Vijji becomes a good housewife and mother. Bhagavanth gets angry and kicks him, a typical Balakrishna gesture. Naturally Vijji gets annoyed and starts treating Bhagavanth as a stranger. As viewers we empathize with both these characters.

Anil Ravipudi also makes some important points about good touch and bad touch through a rousing monologue by Balakrishna. Here again the emphasis is on how girls should be raised courageous like lions.

Arjun Rampal exudes the right amount of swag and ruthlessness

Bhagavanth Kesari benefits immensely from the performances of Balakrishna and Sreeleela. Balakrishna delivers a mature performance without going overboard in the emotional scenes. The actor’s Telangana diction is also commendable. Of course he satisfies his fans in the flashback portions where he plays to the gallery. There is an important passage in the film’s pre climax when Bhagavanth lets Vijji do all the fighting for a particular reason. Both Anil Ravipudi and Balakrishna need to be given credit for how they let Sreeleela take the center stage.

Known for her glamour roles Sreeleela springs a very pleasant surprise with her performance. The actress does a wonderful job in showcasing the transition of Vijji. She also proves to be a good action heroine convincingly taking on the baddies. Arjun Rampal as the antagonist exudes the right amount of swag and ruthlessness. It is a not a very innovative character but Arjun makes it work.

Anil Ravipudi, the director known for creating characters that come with specific mannerisms resulting in slapstick humour

One of the threads that don’t quite work is the one featuring Kajal, his love interest. She plays a supposed psychiatrist. Her track doesn’t quite jell with the narrative. Another mild issue with the film is the flashback of Bhagavanth Kesari that glorifies his brutal methods.

Bhagavanth Kesari is a welcome break from Balakrishna’s hyper masculine Akhanda and Veera Simha Reddy; A welcome sign of his transition from macho hero to father hero.

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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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Jaane Jaan: Another Compelling Thriller From Sujoy Ghosh

In spite of obvious similarities with the Drishyam films this Netflix film stands on its own thanks to the atmospherics and the powerful cast.

Jaane Jaan (Hindi)                 

Starcast: Kareena Kapoor, Jaideep Ahlawat, Vijay Varma, Saurabh Sachdeva and others

Director and writer: Sujoy Ghosh

Additional writer and dialogues: Raj Vasant

Based on: The Devotion of Suspect X by Keigo Higashino

Producers: Ekta Kapoor, Shobha Kapoor, Akshai Puri and others

Production Companies: Balaji Motion Pictures 12th Street Entertainment etc.

Streaming site: Netflix

Genre: Mystery/drama

Running time: 2 hours and 19 minutes

For those who are not aware Sujoy Ghosh’s  Jaane Jaan is based on the famous Japanese novel ‘The Devotion of Suspect X’ by Keigo Higashino. This novel has seen many adaptations. In fact the Drishyam films are supposed to be inspired from this novel.

Jaane Jaan has been an eagerly awaited film for two reasons. One is its director Sujoy Ghosh who has established his credentials as a thriller specialist with Kahaani and Badla. Two is the diverse star cast featuring Kareena Kapoor Khan, Jaideep Ahlawat and Vijay Varma. Jaane Jaan is not in the same league as Kahaani but there is a lot to like here too.

Jaane Jaan primarily revolves around three characters. The setting of this film is a misty hill station called Kalimpong in West Bengal. Maya D’ Souza (Kareena Kapoor) is a single mother who works at the local café. Naren Vyas (Jaideep Ahlawat) is a mathematics teacher at a local school. Naren is also Maya’s neighbour. He is socially awkward but is besotted with Maya. Maya comes with a dark past which is connected to her ex husband Ajit Mhatre (Saurabh Sachdeva). Her new life is shaken up by his re entry but in an accidental scuffle husband dies. She buries him with the help of her neighbour.

Vijay Varma is a police Inspector who is assigned the task of finding Ajit Mhatre. For a change his character Karan Anand is not a deranged psycho (like in Darlings, Dahaad and Pink). What follows is a survival thriller of a determined single mother in the style of Drishyam films. In this case she also has the help of her besotted neighbour .

First and foremost Jaane Jaan is not about who the culprit is. So it is not a story of whodunit in the classical sense. It is more about how the culprit evades the authorities. Sujoy Ghosh takes his own sweet time to establish the daily routine of Maya and how Naren secretly loves her. For some the slow pace might be a hindrance but these portions are necessary in the overall scheme of things.

A big plus for Jaane Jaan is the technical department headed by Avik Mukhopadhyay. He captures the different colour pallets brilliantly through his lens. His cinematography is such that the hill station becomes a character in itself.

The background music composed by the band of Shor Police is in complete sync with the mood of the film. There is no scope for songs in a film like this but the title number pictured on Kareena Kapoor makes for a good watch and listen.

Kareena Kapoor Khan successfully takes off from where she left in Laal Singh Chaddha.  Her Maya D’ Souza is a mixture of steely resilience, vulnerability and charm among other things. Kareena delivers a knock out in her debut digital project.

The way Jaideep Ahlawat who played Naren is smitten by Maya brings a smile to the viewer’s face. His love for Maya and the extent to which he helps her makes you wish that Maya had ended up with him. He was terrific in bringing out the various nuances of his character.

Vijay Varma for a change is a charming cop and the actor plays it with the required coolness. It is refreshing to see Vijay in this avatar. The scenes between Vijay and Kareena are good to watch. During the investigation Karan also falls in love with Maya and the scenes where he flirts with her are adorable. Saurabh Sachdeva is pitch perfect as the abusive husband in his brief screen time.

Jaane Jaan does suffer from editing issues. The film could have been cut short by fifteen minutes. The climax has the typical shock value of a Sujoy Ghosh thriller although it might not be everyone’s cup of tea.

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Miss. Shetty Mr. Polishetty: A Warm And Fuzzy Film That Leaves A Smile On Your Face

This Mahesh Babu P’s directorial is a romantic comedy/drama that reflects the modern day concerns of men and women.

Starcast: Naveen Polishetty, Anuskha Shetty, Jayasudha, Murali Sharma, Tulasi and others

Director and writer: Mahesh Babu Pachigolla

Producers: V. Vamsi Krishna Reddy and Pramod Uppalapati

Production Company: UV Creations

Music: Radhan

Running time: 2 hours and 27 minutes

Genre: Romantic comedy/drama

Miss. Shetty Mr. Polishetty is refreshingly different from what we generally see in Telugu Cinema. Director Mahesh Babu P uses the genre of a feel good Rom-Com to tell a story that is filled with many layers. On one hand it is about an older woman who wants a child but not through marriage. There is also a coming of age story exploring the art of standup comedy through the male protagonist character. The film has also got a distinct Ayushmann Khurrana hangover for those who have seen the likes of Vicky Donor.

Anushka Shetty with Naveen Polishetty

Anvitha Shetty (Anuskha Shetty) is a top chef in London. Her mother (Jayasudha in an extended cameo) wants Anvitha to get married but Anvitha is someone who has no belief in either love or marriage. She doesn’t want to get into the complications of married life. The mother soon dies because of an ailment. After a while Anvitha decides to have a child outside marriage through IVF. In her search for a sperm donor she comes across Siddhu Polishetty (Naveen Polishetty).

Siddhu works in software but his real passion lies in doing standup comedy. He does his shows without the knowledge of his parents. Anvitha is vastly impressed with his standup humour and feels that his sperm would be best for her child. In order to know more about him she gets into a friendship which Siddhu mistakes for love. The rest of the story is about the complications that happen when Siddhu comes to know about Anvitha’s real intentions.

Naveen Polishetty

Mahesh Babu P takes his own sweet time to establish the plot. The initial portions are dedicated to establishing Anvitha’s personality. The film actually gets going when Anvitha starts her search for a sperm donor. Naveen Polishetty’s entry as a standup comedian perks up the proceedings. The dynamics between Anvitha and Siddhu is not what we usually see in Telugu films and this gives a refreshing touch.

As mentioned in the beginning the film has a distinct Ayushmann Khurrana hangover in terms of the sperm donor angle; having said that it is still refreshing to watch because of Mahesh Babu P’s treatment.

The director also deserves credit for how he sketched his two protagonists. Anvitha is someone who comes across as this very stubborn woman who is very clear about not wanting a partner. There is a big inner trauma within her. This stubbornness may have come across as cold hearted but the viewers understand why she is the way she is. Even when Anvitha realises her feelings for Siddhu she doesn’t want to accept it and prefers going away from his life.

Anushka Shetty

Naveen Polishetty’s Siddhu on the other hand comes from a typical middle class family with an upbringing that is vastly different from Anvitha. As said earlier he does a software job just to please his parents but his passion is only standup comedy. Mahesh Babu P does a good job in exploring the art and intricacies of standup comedy. The reaction of Siddhu when Anvitha reveals what she wants feels very natural. The characters of Murali Sharma and Tulasi have an authentic middle class milieu. However the transformation of these characters particularly the father’s character when he takes his son’s autograph after a show feels quite rushed. Also the likes of Nassar could have been better used.

Jayasudha

As the title suggests the film majorly hinges on Anuskha and Naveen Polishetty and both the actors do not disappoint. Anuskha Shetty plays a character which goes with her age. She fits the part of an older woman who is scared of getting into relationships. Anuskha carries the cold heartedness and the aggressive nature well.

Naveen Polishetty’s real life experience of doing standup comedy comes in very handy during the comic portions. The actor is an absolute live wire.  He also does a swell job in the more dramatic portions.

Jayasudha’s cheerfulness brings a smile to the viewers face. Her fan act of Balakrishna in particular does raise some chuckles.

Music composed by Radhan goes well with the flow of the film. Lady luck in particular is an upbeat number. I am sure many young people would connect with the theme of the film.