Tag: Rashmika Mandanna

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Chhaava review: A strong ode to Maratha valour

This Laxman Utekar’s directorial is a delight for admirers of Maratha warriors. Just like the recent historicals, ‘Chhaava’ too has a strong undercurrent of saffronisation. Still the solid technical work coupled with the towering performances makes this a worthy big screen spectacle.
Chhaava (Hindi), 14-02-2025, Historical drama , 2 hours 41 minutes, U/A, Theatre
  • Main Cast: Vicky Kaushal, Rashmika Mandanna, and Akshaye Khanna
  • Director: Laxman Utekar
  • Producer: Dinesh Vijan
  • Music Director: AR Rahman
  • Cinematography: Saurabh Goswami
  • Rating: 3.5/5

In the last few years, Hindi cinema has seen a huge increase in the Hindutva influx, this doesn’t just pertain to the numerous war dramas, but this list also includes historical fiction based on the wars involving the Hindu kings, particularly the Rajput and Maratha warriors.

Very good examples of these are Sanjay Leela Bhansali’s Padmavaat (2018)  and Om Raut’s Tanhaji (2020). In these films, the Muslim rulers are presented as merciless invaders from whom the Hindu nation should be saved.

Laxman Utekar’s first attempt at historical fiction also treads on the same path. After directing a slew of feel-good movies like Luka Chuppi (2019) and Zara Hatke Zara Bachke (2023) the cinematographer turned director takes an extremely different path from his previous works.

Synopsis

Chhaava meaning a lion cub is based on a novel of the same name written by Shivaji Sawant. The book covered the life and times of the very noted Maratha warrior Chhatrapati Sambhaji.

It’s hard to say what percentage of Chhaava is based on its original source material and how much fiction Laxman Utekar has added. but the movie does a very fine job of capturing the bravery of Chhatrapati Sambhaji managing to make the viewers feel for the man particularly if you are an admirer of Maratha warriors.

In simple terms, the core plot of Chhaava focuses on the events which transpired from 1680 to 1689, a period marked by the relentless pursuit of Mughal emperor Aurangzeb (a fabulous Akshaye Khanna).

The movie celebrates the valour of Chhatrapati Sambhaji (an outstanding Vicky Kaushal) in fighting against the troops of Aurangzeb. Rashmika Mandanna plays Maharani Yesubai— a very important pillar of support for Sambhaji.

Vicky Kaushal as Sambhaji

Chhaava is a historical drama
‘Chhaava’ is a historical drama. (X)

Chhaava works largely due to the emotional depth brought by Laxman Utekar. He and the screenplay writers don’t just depict Sambhaji as a fierce warrior but also reveal a vulnerable side to him.

There is a palpable sense of grief in the way Sambhaji speaks about missing his mother’s love and a recurring nightmare involving his father. Some of the dialogues effectively convey the brutalities of war, where countless lives are lost.

As Sambhaji, Vicky Kaushal fully embodies the role, delivering a top-notch performance. With this role, Vicky once again proves why he is a versatile actor, able to adapt to various genres, whether it’s the light-hearted Bad News or the more emotionally intense roles in Sardar Udham Singh and Chhaava.

Vicky shines the most in scenes where he portrays the psychological toll endured by a warrior king. The torture sequence involving Sambhaji is another standout moment where Vicky excels.

While the historical accuracy of these moments may be debatable, the way Vicky portrays Sambhaji’s fighting spirit, even while being physically tormented by Aurangzeb, creates an emotional connection with the character.

Performances

Rashmika Mandanna as Rani Yesubai
Rashmika Mandanna as Rani Yesubai. (X)

Akshay Khanna as Aurangzeb makes for more than a worthy tormentor. While there is no denying the amazing prosthetic work Akshay Khanna with his acting also makes the part memorable.

Thankfully there are no unnecessary theatrics; Akshay invokes terror with just his demeanour and piercing gaze. He excels in showcasing Aurangzeb’s huge hunger for power.

Rashmika Mandanna as Yesubai plays a strong partner in the same mould as her last outing Pushpa 2. She delivers a fine performance perfectly showcasing the inner strength of a warrior’s wife. A particular mention must be made of her act in the portions following Sambhaji’s capture.

Vineet Kumar Singh as Kavi Kalash shines the brightest among the supporting cast. He plays his part with a lot of warmth. The friendship between Sambhaji and him gives the movie some of its best moments.

Strong technical aspects

Among the strong aspects of Chhaava, the technical department deserves special mention. The fight sequences in the second half are a delight, especially for those who enjoy rustic action. There are numerous instances of the Marathas outsmarting the Mughals using guerrilla tactics. The way these ambush sequences unfold with surprise attacks resembles a gripping chess game.

Vicky Kaushal in Chhaava
Vicky Kaushal in ‘Chhaava’. (X)

Cinematographer Saurabh Goswami delivers high-quality work, successfully capturing both the grand scale and intense action set in the forests. Special mention should also be made of the scenes following the destruction of the war, which are staged realistically.

AR Rahman’s background score and music complement the film well. The tune “Aaye re toofan” serves as a powerful war anthem with a touch of Maharashtrian folk. On the other hand, “Jaane Tu,” a romantic number, perfectly captures the understated romance between Vicky and Rashmika.

A major flaw in Chhaava is its core plot, which suffers from a significant hangover of clichés found in numerous films set in the same historical context.

Additionally, the film doesn’t break new ground in its portrayal of Muslim characters. The heavy emphasis on the concept of Swarajya, along with the lack of subtlety in the dialogues surrounding it, can test the audience’s patience.

Final take

To sum it up Chhaava works as a big-screen spectacle, especially for fans of Vicky Kaushal and those who like stories of brave Maratha warriors.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/chhaava-movie-review/

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Pushpa 2: The Rule: Watch it for Allu Arjun’s wildfire performance, Fahadh Faasil’s eccentric act

‘Pushpa 2: The Rule’ is a definite improvement over the first one but needed a tighter edit particularly the elongated action sequences which don’t serve much purpose other than establishing Pushpa’s invincibility.
Pushpa 2: The Rule (Telugu), 05-12-2024, Action, Thriller, 3 hours 20 minutes, U/A, Theatre
  • Main Cast: Allu Arjun, Rashmika Mandanna, Fahadh Faasil, and Sunil
  • Director: Sukumar
  • Producer: Naveen and Ravi Shankar
  • Music Director: Devi Sri Prasad
  • Cinematography: Miroslaw Brozek
  • Rating: 3/5

It goes without saying that Pushpa 2: The Rule is one of the most anticipated commercial films of 2024, after the first part Pushpa: The Rise became a huge success across India.

Allu Arjun’s swag and mannerisms, coupled with the rustic, atmosphere found many admirers despite the problematic aspects. With Allu Arjun winning the National Award, expectations have increased multifold.

Synopsis

Pushpa 2: The Rule is a definite improvement over its predecessor. The relationship between Allu Arjun’s Pushpa and Rashmika Mandanna’s Srivalli is far better etched in this one. The chemistry is very much spot on giving the movie some of its best moments. At the same time, there are deficiencies too which I will elaborate on later.

Pushpa 2: The Rule takes off from the first one’s dramatic finale involving Allu Arjun and Fahadh Faasil. From a daily wage worker, Allu Arjun’s Pushpa has now become a very influential person in the smuggling syndicate.

In the second part, the viewers see two shades of Pushpa: one as a doting husband, and two as a kingpin who has maintained his status amidst the return of Fahadh Faasil’s Bhanwar Singh Shekwat and some other old enemies. The second part primarily focuses on the rivalry and how Pushpa maintains his hold while being a perfect husband.

What works and what doesn’t

Allu Arjun and Rashmika Mandanna
Allu Arjun and Rashmika Mandanna. (X)

A strong aspect of Pushpa 2: The Rule is undoubtedly the husband and wife scenes. There is playfulness to their interactions making the scenes adorable. Apart from the light moments, there are also some well-written and enacted emotional ones.

A particular mention must be made of a hugely poignant moment after Allu Arjun’s intense dance in the Jathara episode.

Rashmika’s Srivalli is a strong emotional anchor for Pushpa, and this has come out well in numerous scenes like the lengthy monologue. The actor does a wonderful job of showcasing Srivalli’s different shades.

The rivalry between Allu Arjun and Fahadh Faasil is also entertaining to watch. A major reason for that is the crackling dialogues whether it is the intense portions or scenes underlined with humour. Fahadh in the first part got a raw deal but in this one, the actor gives a memorable act.

He perfectly portrays both the eccentric nature and also the simmering anger. Fahadh Fassil makes for a very worthy antagonist.
Another strong aspect of Pushpa 2: The Rule is the portions tying up Pushpa’s baggage of being an illegitimate child. Director Sukumar has given a touching closure to this angle.

An emotional breakdown featuring Ajay as the elder brother is wonderfully written and enacted.

Coming to the flaws, a major problem with Pushpa 2: The Rule is the portrayal of Allu Arjun as an invincible man someone who can defeat anyone and can never lose.

The action sequences by nature are very much over the top and this does become a hindrance more so for those who don’t enjoy larger-than-life heroes. Also, the movie’ wafer-thin storyline doesn’t warrant the huge running time. Editing needed to be much tighter, especially in the second half.

Performances

Allu Arjun in Pushpa 2 The Rule
Allu Arjun in ‘Pushpa 2 The Rule’. (X)

Coming to the main man Allu Arjun successfully takes off without any hiccups. It is clear that Allu Arjun has made Pushpa his own; his outstanding act is easily the strongest pillar of the movie. He not only sells the superhero nature of the role, but also shines equally in the emotionally charged moments.

Talking about his dance in the Jathara sequence, spellbinding would be an understatement. He brings so much depth with those eyes and overall body language. With this film, Allu Arjun once again shows why he is not just a star but also a powerhouse performer who deserves the national award bestowed on him.

Technical aspects

The cinematography of Miroslaw Kuba Brozek is of the highest order. The intensity of the action sequences along with the thrilling night scenes in the forest has been wonderfully captured by him.

Devi Sri Prasad’s music doesn’t completely match up to the first part, but the songs have their moments. Tracks like “Sooseki” and “Peelings” make for a good watch.

Final take

All said and done Pushpa 2: The Rule is a treat for die-hard Allu Arjun fans and action lovers.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/pushpa-2-the-rule-movie-review/

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Animal: A Chilling Psychological Portrait Of A Man Who Is Desperate To Get Love And Affection From His Father

Ranbir Kapoor and Anil Kapoor bring their A game but the conundrum of Sandeep Reddy Vanga persist

Rating: 2.5
Starcast: Ranbir Kapoor, Anil Kapoor, Rashmika Mandana, Bobby Deol and others
Direction, Screenplay and editing: Sandeep Reddy Vanga
Additional screenplay: Pranay Reddy Vanga and Saurabh Gupta
Producers: Bhushan Kumar, Krishna Kumar, Murad Khetani and Pranay Reddy Vanga
Music composers: Pritam, Manan Bhardwaj and others
Production Companies: Bhadrakali Pictures, T- Series Films and Cine 1 studios.

Sandeep Reddy Vanga is one of the few directors who became a big sensation with his very first film. Arjun Reddy (Kabir Singh in Hindi) was not just a box office success but it was also intensely scrutinized given the extreme raw nature with which he had depicted the love story of his protagonist.

Ranbir Kapoor, Rashmika Mandanna and Bobby Deol

With Animal the director dwells into another dark tale. This time it is about a father and son; Ranvijay Singh (Ranbir Kapoor) is the son of a successful industrialist Balbir Singh (Anil Kapoor). Ranvijay considers Balbir as the best father in the world, this in spite of having many issues with him. He is sent out of the house twice by his father; first when he went with a gun to threaten his sister’s classmates for ragging her and the second time for a huge argument with his brother-in-law on the occasion of his father’s 60th birthday.  

After a brief love story, marriage and two kids in US Ranvijay returns to India when he comes to know his father was attacked and grievously injured. He decides to find out who his father’s enemies are. In this process his path crosses with that of Bobby Deol who turns out to be his stepbrother thirsting for revenge. Rashmika Mandanna is the disgruntled wife of Ranvijay. She bears the brunt of her husband’s violent actions and his obsessive love for his parent. Soon enough there are no traces of the man that she fell in love with.

A big strength of Animal is easily the twisted father and son dynamics. Sandeep Reddy Vanga doesn’t waste any time in establishing how much Ranvijay craves for his father’s affection along with the workaholic nature of the father. There is a wild streak in Ranvijay from a young age itself.

Anil Kapoor, Ranbir Kapoor, Parineeti Chopra and Bobby Deol

As mentioned above there is a scene where Ranvijay’s sister comes home crying after a ragging incident. She calls up her father multiple times but Balbir doesn’t lift the phone. Later she pours out her frustration to Ranvijay who immediately goes to her college with a gun. Not surprisingly Balbir gets pissed with his son and ends up slapping him.

This scene successfully sets the base for the friction between father and son. The gradual progression of Ranvijay into an ‘Animal’ has been well staged and does send a chill down the audience’s spine.

The emotional bits between father and son in the later stages are also directed well. There is a scene in the pre-climax where Ranvijay does a role reversal with his father, that is, Ranvijay acting as the dad and Balbir acting as the son. The long years of inner frustration and Anil Kapoor’s repentance packs a big punch.

Ranbir Kapoor and Rashmika Mandanna

Bobby Deol appears only in the second half. His scenes are few but Bobby makes a solid impression just with his eyes and overall physical demeanor. The climatic fight between him and Ranbir has lot of raw action and is definitely a delight for those who like this kind of action.

But the overdose of blood and violence is a definite put off. The scenes of Ranbir hacking and killing several men gets nauseating after a point.

Another major flaw with Animal is the depiction of its female characters. They are mostly there only to bear the brunt of men. The best example of this is Rashmika’s Geetanjali. There is an important scene in the second half when Geetanjali has a severe argument in a high pitched tone with her husband. This is because of an affair that Ranvijay had behind her back.

Sandeep Reddy Vanga, director

Ideally the viewers should have rooted for Geetanjali but Rashmika’s screaming makes it difficult to empathize. Another example of a badly written female character is that of the one played by Tripti Dimri. She is a moll who is sent to seduce Ranvijay by Bobby Deol. Ranvijay knows that she is a moll but still ends up having a physical relationship and also makes her lick his shoes to prove her love. This is, to say the least is in very bad taste. 

The music composed by Pritam, Harshavardhan Rameshwar and others make for a good listen. The songs that stand out are Satranga and Pappa Meri Jaan.

Not surprisingly it is Ranbir and Anil Kapoor who lead the acting department. Both the actors get into the zone of Sandeep Reddy Vanga with zero inhibitions.

Animal is not a film that can be slotted as either good or bad. Still there is enough to enjoy if you are a fan of Sandeep Reddy Vanga’s style of filmmaking or if you like Ranbir and Anil Kapoor’s acting. But it is clear that Sandeep Reddy Vanga hasn’t learnt anything from the criticism of Arjun Reddy.

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Mission Majnu: This ‘Raazi’ Redux Lacks The Required Heft

Not a goosebump spy thriller!

Mission Majnu (Hindi)

  • Cast: Sidharth Malhotra, Rashmika Mandanna, Parmeet Sethi, Sharib Hashmi, Mir Sarwar, Kumud Mishra, Arjan Bajwa, Zakir Hussain, and Rajit Kapur
  • Director: Shantanu Bagchi
  • Producers: Ronnie Screwvala, Amar Butala, and Garima Mehta
  • Music: Tanishk Bagchi, Rochak Kohli, and Arko
  • OTT platform: Netflix
  • Runtime: 2 hours 9 minutes

Stories about unsung heroes, both fictional and based on real-life incidents, have become a genre in itself.

If we talk about fictional narratives, we have War, and The Tiger franchise, both produced by the Yash Raj banner. On the other hand, we have Meghana Gulzar’s Raazi and Vishnu Vardhan’s Shershah which are based on real-life events.

Shantanu Bagchi’s Mission Majnu tries to have the heft of Alia Bhatt’s Raazi. At the same time, it tries to be larger than life. This mixed khichdi never takes off.

Sure, the film has its moments but you get the feeling that it could have been so much more.

The timeline of Mission Majnu is set in the 1970s. It narrates the story of a covert spy agent who resides in Pakistan.

In the beginning, audiences are told that India has successfully carried out its first nuclear bomb test which shocks Pakistan. Now, the neighbouring country wants to build a nuclear bomb to destroy India.

Pakistan takes the assistance of a great scientist, Abdul Qadeer Khan (Mir Sarwar), for the job. On learning this, the RAW hires spy agent Tariq alias Amandeep Ajitpal Singh (Siddarth Malhotra) to find out the location of and neutralise the nuclear facility.


Tariq is a tailor working in Pakistan. The rest of the story deals with how he finds the secret location and, in the process, saves India from the evil plan of Pakistan.

There is also the subplot of Nasreen (Rashmika Mandana), a visually impaired woman who has no idea about the real identity of her husband Tariq. Now, this reminds us of both Raazi and also Fanna.

Emotional quotient missing

Mission Majnu begins on a rather slow note with the unnecessary love angle of Tariq and Nasreen. The portion between Siddarth and Rashmika tests the audience’s patience in a big way.

What also doesn’t help the film is the convenient manner in which Tariq goes about his mission. You don’t feel tensed for Tariq which is a big drawback for a film of this genre.

The scenes where Tariq extracts sensitive information from the army brigadier appear too easy. Even random strangers don’t feel anything amiss when Tariq asks for crucial details.

It is only with the entry of Sharib Hashmi that things take a move on.

The scene before the interval takes the audience by surprise with an important twist revealed about the supporting character played by Kumud Mishra.

The scenes featuring the trio are easily the best part of the film. Their camaraderie elevates the film in a big way.

The second half gives some goosebump moments like an important train sequence featuring Sidharth.

Special mention must also be made of the shootout involving the various Indian RAW agents living in Pakistan. It is a sequence that has been well shot and leaves you sad.

Performances & technical crafts

Sidharth Malhotra as Tariq gives his best shot and is somewhat successful in making the audiences empathise with him, in spite of a fractured script.

Kumud Mishra and Sharib Hashmi as the Indian agents are brilliant in their respective parts and their death scenes have a certain poignancy.

Rashmika Mandanna doesn’t bring much depth to her part. Her chemistry with Sid is rather flat. This becomes a major hindrance in audiences empathising with her when Tariq’s secret is out.

The music composed by Tanishk Bagchi, Rochak Kohli, and Arko is quite good. Special mention must be made of the songs sung by Sonu Nigam.

Verdict

In a nutshell, Mission Majnu might not be a goosebump spy thriller but a necessary story to be told.

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Sita Ramam: This Tale Of Star Crossed Lovers Touches Your Hearts

Hanu Raghavapudi’s Sita Ramam is a poetic love story that works on many levels. The twists and turns keep you hooked. Most importantly the chemistry between Dulqer and Mrunal works like magic. The director also looks into the Indo-Pak conflict with Kashmir. He smartly integrates this subplot into the film and makes sure that it never comes across as just an add on.

Rashmika Mandanna tasked with uniting Dulqer and Mrunal

In the mid-1960’s Lieutenant Ram (Dulqer Salman) falls in love with a stranger (Mrunal Thakur as Sita) after an exchange of letters. Ram meets Sita and she also reciprocates his love. But Sita has problems due to her family, cut to 20 years later Afreen (Rashmika) is assigned with the task of delivering Ram’s letter to Sita by her grandfather-army general (Sachin Khedar). Afreen has no inclination to deliver the letter but she has no other option, the reason being her grandfather’s will, Afreen is a Pakistani Muslim who hates Indians. The rest of the story focuses on why the letter is so important and what is the connection between Ram and Afreen’s grandfather.

For a love story like this to work the casting of the lead pair is very important, director Hanu Raghavapudi gets the casting absolutely spot on. Both Dulqer and Mrunal deliver wonderful performances. The chemistry between them is a treat to watch. Dulqer turns on his charm fully and makes the audiences fall in love with him. The actor is in splendid form in both romantic and emotional scenes. The surprise package though is Mrunal. She makes a stunning Tollywood debut. She not only looks gorgeous but also performs with ease.

Rashmika Is Not A Heroine But The Hero Of This Film! - Movie News
Rashmika is not the heroin of the film but a very important character

Hanu Raghvapudi has handled the portions between Dulqer and Mrunal in a classy manner. Some of the emotional bits featuring the lead pair give you goosebumps.

The director has also made sure that the supporting characters come out well. The roles of Sumanth and Rashmika are beautifully woven into the story. Both the actors do a splendid job in their gray shade characters.

Indo-Pak conflict mixed with a love angle is something that Indian audiences are always keen to watch. The film reminds you a bit of Veer Zara in the sense that Dulqer’s Ram is prisoner in a Pakistani jail. The scenes involving war makes you tense about what will happen next.

There are twists and turns at regular intervals and the last one leaves you teary eyed.

Sita Ramam teaser is visually appealing | Telugu Cinema
Dulqer in army uniform bringing in war atmosphere

Technically also Sita Ramam makes for an eye pleasing product. The cinematography by PS Vinod and Shreyas is of very high standards. The music by Vishal Chandrasekhar is soothing and suits the mood of the film perfectly.

Sita Ramam is not without its flaws though. Some of the comic portions are oddly placed. The track of Vennela Kishore could have been better etched out. Also there are some logical errors. For example Mrunal Thakur’s character doesn’t de age for a bit even after twenty years.

Sita Ramam is a feast particularly if you are a fan of Dulqer and also intense love stories.

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The Biggest Sin Of Pushpa The Rise

Director Sukumar’s last venture Rangasthalam was a vastly appreciated film both commercially and critically. It was a film which presented both its leading man and also the director in a new light. With Pushpa the director once again presents a story in a raw and rustic tone. This time he sets it in the Chittor belt, complete with the smattering of Tamil Lingo. However the result though is far from satisfactory. He takes the subject of Red Sandalwood coolies but ultimately turns it into a typical gangster drama, but the thing is he doesn’t do justice to either genres.

The film begins off with animated video that talks about the importance of Red Sandalwood. From here we move to the main character of Pushpa (Allu Arjun). We see Pushpa through the eyes of a daily wager Kesava (Jagadeesh Pratap Bandari) Kesava ends up being a loyal apprentice to Pushpa. The first part of Pushpa is essentially about the rise of the protagonist from a daily wager to controlling the smuggling syndicate. The story takes place in an era when pagers were in vogue and mobile phones a luxury. In between you have a barrage of villains starting from Ajay Ghosh and Sunil. Towards the end we are introduced to Fahadh Fassil’s character.

ONE OF THE FEW GOOD THINGS ABOUT PUSHPA IS ALLU ARJUN’S PERFORMANCE.

One of the few good things about Pushpa is Allu Arjun’s performance. The actor is seen in an avatar which is a far cry from what we generally associate with him. Allu Arjun not only brings in the required shrewdness needed for the character but he also brings a certain heft to the emotional scenes. The constant emotional trope in Pushpa is him being questioned about his family name. It is an overused troupe but the emotional scenes still work because of the actor’s performance. Another performance worth mentioning here is Jagadeesh Pratap Bandari. His scenes with Allu Arjun give the film some good moments. They bring a smile to your face.

THE CINEMATOGRAPHY BY KUBA BROZEK IS SUCCESSFUL IN ABLE TO TRANSPORT YOU TO THOSE ATMOSPHERICS.

Lastly the cinematography by Kuba Brozek is successful in able to transport you to those atmospherics. The visuals are in sync with the rustic nature of the story. The music by Devi Sri Prasad is fine but Rangasthalam had better songs.

The biggest issue with Pushpa is the formulaic approach that director Sukumar takes. With the topic of Red Sandalwood coolies the director could have ventured into a new direction but he sticks to the often seen template. It soon becomes clear that the director isn’t really interested in the nitty gritties of the coolie’s lives. They are just mere bystanders to propel Allu Arjun’s character.

RASHMIKA IN HER DEGLAMORISED AVATAR HASN’T GOT MUCH TO DO. SHE IS DECENT BUT NOTHING MEMORABLE.

The opponents aren’t great either. Sunil is comparatively more menacing than the others but that is not saying much. Adding to the disappointment is Fahadh Faasil. Yes we will see more of him in the second part but whatever little is there of him here certainly isn’t promising.

Rashmika in her deglamorised avatar hasn’t got much to do. She is decent but nothing memorable. The women characters here are completely forgettable in contrast to the ones that you had in Rangasthalam.

HERE’S HOPING THAT THE SECOND PART TURNS OUT MUCH BETTER.

The biggest sin of Pushpa though is that it makes you apprehensive for the second part. There is no solid hook line which makes you eager. At the end of Rajamouli’s Bahubali one there was suspense over why a loyal servant like Kattapa killed Bahubali but no such luck here.

Here’s hoping that the second part turns out much better.