Category: Movie Reviews

Posted on

Bhool Chuk Maaf (Forgive my mistakes): A quirky time loop romantic comedy with a social message

Rajkummar Rao and Wamiqa Gabi in Bhool Chuk Maaf

Though the inspiration of the storyline comes from Hollywood director and writer Karan Sharma gives it a distinct desi touch by using the elements of Indian mythology. The repetitive nature of the time loop sequences does get tiring but the movie’s chore themes coupled with the acting performances led by a terrific Rajkummar Rao help it to tide over the speedbumps

Starcast: Rajkummar Rao, Wamiqa Gabbi, Seema Pahwa, Sanjay Mishra and others

Director and writer: Karan Sharma

Genre: Romance/ fantasy

Producer: Dinesh Vijan

Production Companies: Amazon MGM Studios and Maddock Films

Cinematography: Sudeep Chatterjee

Music: Tanishk Bagchi and Ketan Sodha

Running time: 2 hours and 1 minute

There was a period when movies set in small town used to very profitable specifically before the pandemic. Infact Ayushmann Khurrana hugely profited with consecutive hits like Bala, Bareilly Ki Barfi and the first part of Dream Girl, Dream Girl 1 remains Ayushmann’s highest grosser till date, however just like any other genre a certain staleness crept in due to an overdose. Of course Stree 2 is an exception but by and large the formula of a small town movie with a flawed protagonist has led to a certain fatigue. Bhool Chuk Maaf starring Rajkummar Rao and Wamiqa Gabbi is a throwback to the Ayushmann Khurrana sub genre of small town movies. In spite of familiar beats Karan Sharma manages to infuse some freshness.

Set against the backdrop of Varanasi Bhool Chuk Maaf primarily focuses on Ranjan Tiwari (Rajkummar Rao) and Titli (Wamiqa Gabbi). The two are deeply in love and desperate to get married. The hitch is that Ranjan doesn’t do any kind of job, he has applied for government jobs but with zero luck. Things take a dramatic turn when Ranjan promises to get a government job in two months and then marry Titli. Through the system of jugaad Ranjan manages to get one but the joy is short-lived. A day before the wedding Ranjan finds himself stuck in a bizarre time loop where he relives the cycle of a particular day, the date refusing to move. This is the story in brief.

Ranjan and Titli are deeply in love and are desperate to get married

Rajkummar Rao’s Ranjan Tiwari stuck in a time loop

A strong aspect of Bhool Chuk Maaf is the gradual progression of Ranjan Tiwari in becoming a better person. Although Rajkummar Rao has previously played the role of a small time boy as well Karan Sharma manages to give it fresh nuances through the layered writing. Ranjan starts off as a wastrel of sorts by spending the money of either his mother or the girlfriend. He has no intention of being self sufficient until he is forced to become due to the desperate situation. A big reason for Ranjan’s attitude is the father played by Raghubir Yadav. Seema Pahwa playing Ranjan’s mother is the solo breadwinner of the family through the pickle business. The father also doesn’t do any job and Ranjan inherits his father’s extreme laid back attitude.

However things start changing when Ranjan gets stuck in a time loop where he is forced to confront on why things aren’t moving ahead in spite of praying to god and feeding people as well as animals. This gradual journey of self discovery and a complete arc through a series of absurd situations is a big strength of the movie.

The love story between Rajkummar Rao and Wamiqa Gabbi also has interesting touches due to their individual personality traits. Titli isn’t just Rangan’s love interest but also an equal partner who on certain occasions seems to be more invested in their relationship than him. At times its hard to see what Titli sees in Ranjan but Wamiqa Gabbi does a very good job in imbibing Titli’s passionate love. She does a very good job in portraying the different facets of the role, Wamiqa also raises ample chuckles with her wonderful comic timing. The duo of Rajkummar and Wamiqa also share a good chemistry specifically in the drunken conversation a day before the time loop. Rajkummar Rao as Ranjan is no stranger to playing a small town boy but the actor still manages to bring a freshness with his nuanced acting. He does complete justice to the journey of Ranjan making the viewers empathize with the bizarre scenarios that the character finds himself in. Among the elders Sanjay Mishra deserves a specific mention as Bhagwan Das, the film’s central message is conveyed through his role. He plays the character with the right amount of mysteriousness.

An important subplot in Bhool Chuk Maaf is the system of Juggad where a more worthy candidate doesn’t get what he deserves. The movie much like Pradeep Ranganathan’s Dragon talks about how real success isn’t about cheating your way to the top. There is an important subplot related to a Muslim man called Hamid Ansari, he repeatedly tries to commit suicide only to be saved by Ranjan. How this Muslim man triggers a change in Ranjan’s attitude makes the movie much more than just an average small town movie. The movie also critiques people’s obsession with government jobs and the marriage market where a certain kind of people are considered more marriage material.

Talking about the flaws on some occasions the movie seems stuck in a certain rut like the protagonist reliving the same day. There is a sense of repetitiveness to the sequences specifically in the portions where Ranjan keeps saving Ansari and persuading him on not to commit suicide. This does get exhausting, the movie could have done with more crispness in storytelling. The music also needed to be much better, the only track which makes a good impression is Tanishk Bagchi’s ‘Koi Na’ its a soothing love ballad perfectly capturing the romance between the lead pair.

Cinematographer Sudeep Chatterjee does a very fine job in capturing the small town essence. The atmospherics of Varanasi become a character in itself thanks to the divinity associated with the place.

Final word: Bhool Chuk Maaf makes for a good watch if you are in the mood for a morality tale with the concept of time loop.

Posted on

23 (Iravai Moodu): A powerful critique on the disparities in our judicial system

23 movie leads

Mallesham and 8 AM Metro director Raj R takes three well known cases which shook the 1990’s of Andhra Pradesh and interconnects them to raise some pertinent questions on the functioning of our judicial system. The director explores the issues related to caste and class in an authentic manner, the star cast led by mostly newcomers do wobble on some occasions and the character of Jhansi as a psychologist feels underdeveloped. However what powers the movie is the relevancy of the social themes it addresses

Star cast: Teja, Tanmai, Pavan Ramesh, Jhansi and others

Genre: Crime/drama

Director and writer: Raj R

Dialogues: Indus Martin

Producer: Venkat Siddareddy

Production Company: Spirit Media

Presenter: Rana Dagubbati

Music: Mark K Robin

Cinematographer: Sunny Kurapathi

Running time: 2 hours and 25 minutes

The core of Raj R’s 23 (Iravai Moodu) is the statement from a famous novel Animal Farm written by the well-known Goerge Orwell. The statement goes like this, ‘All are equal but some more equal than others,’ the director uses this as a foundation tone making the viewers look at the concept of crime and the preparators through different perspectives related to social hierarchy.

The movie’s premise is majorly inspired from three shocking incidents which shook the state of Andhra Pradesh back in the 1990’s. The first one being the brutal caste-based violence against the Dalits, the second being 23 passengers losing their lives due to two young lower caste men and lastly a car bomb explosion in 1997 where 26 were killed and many injured. Among the three the 1993 Chilakaluripet is the main focus, Raj R narrates this tale through an emotional love story featuring Sagar (Teja) and Susheela (Tanmai). The movie spans across many years and numerous tribulations which the couple go through, in case of Sagar it’s the guilt of being responsible for killing 23 people along with his friend, for Susheela on the other hand she has to face the social stigma of becoming a mother before marriage. This is the story in a nutshell.

23 movie song

A strong aspect of 23 is how Raj R has interconnected the three cases. On the surface there is no direct link given that all the three are of different nature, however what binds them is the societal aspects. In the first case the upper caste men find a way through the high court after being sentenced to life imprisonment. They are eventually released thanks to the money and social backing. The same thing applies to the third case as well; a mastermind of the crime walks away scoot free due to his political backing and a supposed image of good conduct. However, in the case of the two lower caste men it’s a long and hard ordeal. In fact, the two have a hard time finding a benevolent lawyer in the first place due to a decision from lawyer’s bar association. By linking the three Raj R makes some scathing comments on how people with power can get away with anything even though their crimes are intentional in nature.

Mention must also be made of the sensitive manner in which Raj R and dialogue writer Indus Martin have treated the entire scenario. Yes, they portray Sagar and his friend through an empathetic gaze but at the same time their is no hesitation in making them introspect about the wrongs specifically in the case of Sagar. The viewers see Sagar going through a lot of emotional turmoil almost becoming mad in Shakespearean style. A palpable anger among the victims of the dead families has come out well like the scene where a man expresses his anguish on losing both his leg and livelihood. Raj R at no point absolves the two friends just because they didn’t intentionally set the bus on fire. The movie provides no easy answers to this complex scenario.

An important subplot in the movie is the need for reforming prisoners before they are released from prison. There’s a key incident in the middle of the second half where a prisoner protests on not wanting to go back to the real word as he isn’t ready yet. The person ends up doing another heinous crime. This makes the jailer feel guilty on how he should have listened to the prisoner. Another subplot worth mentioning here is the use of caste system to design certain chores to prison inmates, this includes cleaning the toilets something which is generally associated with lower caste people.

The love story in 23 takes a while to get going specifically in case of Teja’s Sagar. Both the accent and the scenes demanding emotional gravity needed a stronger actor however the actor’s sincerity shines through, and he gets better as the movie progresses. Tanmai fares much better delivering a moving act as a young woman facing the brunt of society’s judgmental tone. There is a quiet strength to the role which she pulls of well. Pavan Das as the cynical friend is all right too.

Thagubothu Ramesh in a serious role lends a lot of warmth to his part successfully breaking away from his usual drunken parts.

Jhansi makes an entry well into the second half. She brings in the required worldly wisdom particularly in the portions where she converses with the inmates, however her entire track needed better integration and suffers somewhat on the account of a sketchy screenplay.

The cinematography of Sunny Kurupathi along with Laxman Aeley’s production design is successful in taking back the viewers to those turbulent times. Mark Robins songs are also soulful giving depth to the intense proceedings like the song Egaraale.

Final word: Raj R’s 23 needs to be watched for relevancy of the story. Its a movie that will make you ponder on issues that still affect our society.

Posted on

Subham: A whacky ride filled with laughs and strong feminist message

The star cast of Subham

Cinema Bandi director Praveen Kandregula presents a far fetched yet an interesting tale by using the stale nature of TV serials as a background to explore the concept of the hugely popular Alpha male image. The movie successfully dwells into what married women really want by critiquing a certain idea of masculinity. In a way the movie feels like a jibe on director Sandeep Reddy Vanga’s idea of a hyper aggressive male

Starcast: Harshith Reddy, Srinivas Gavireddy, Charan Peri, Shriya Kontham, Shravani Lakshmi, Shalini Kondepudi and others special appearance (Samantha Ruth Prabhu)

Director: Praveen Kandregula

Writer: Vasanth Mariganti

Producer: Samantha

Production house: Tralala Moving Pictures

Music: Vivek Sagar and Shor Police

Cinematography: Mridul Sujit Sen

Running time: 2 hours and 5 minutes

TV Serials also called daily soaps form an integral part of many middle class households. Numerous housewives particularly of a certain strata are addicted to them, its their only form of entertainment. They get very emotionally attached to the various trials and tribulations of the primary female characters in the serials. Their attachment is used by the television directors to stretch the episodes endlessly with more melodrama filled with portions of abuse. Praveen Kandregula along with writer Vasanth Mariganti use this addiction of TV serials in the format of a horror comedy. There is a constant satarization of both melodrama and a lack of logic often found in daily soaps, underneath the laughs though the movie also presents a strong social critique leaving the viewers with an important message on how a modern male should not be.

Without giving much away Subham focuses on a group of three friends led by Srinu (Harshith Reddy). Compared to his other two friends specifically the character played by Srinivas Gavireddy Srinu comes across as a soft guy with dreams of being a perfect husband. However the other two encourage him to be an Alpha man. In simple terms they want him to come across as a rough guy through his voice and overall demeanor. Things take a huge turn for Srinu when his wife Srivalli (Shriya Konatham) completely ignores him on the wedding night getting absorbed in a serial. This leads to a series of incidents turning the lives of not just Srinu but the other married men too upside down. Samantha has an extended cameo as a female baba with an eccentric nature.

Shriya Konatham as Srivalli

A strong aspect of Subham is the director’s effective use of a fictional TV serial in exploring a rather misguided notion of masculinity. There is a brilliant scene in the second half when the three wives talk to the actor playing the lead role. They question him about the big change in the protagonist from how he started to how he has become. They specifically mention certain episodes where the hero used to be very adorable with sweet gestures. The actor replies by talking about the rising TRPS because of the guy becoming more rough and behaving like an Alpha or toxic male. He further adds about women preferring these kind of men in real life. This entire portion of arguments made by the actor and the counter arguments to that is the soul of the movie and pushes the story beyond a standard horror comedy.

The characterizations of the three men with specific character traits is another big strength of the movie. Srinivas Gavireddy gets the movie’s funniest moments, his role is of a proud Alpha male, he is very boastful about dominating the wife through just a click of hand. The portions where he gets a reality check gives the movie some of its best laughs. By breaking his notions the movie redefines the concept of popular masculinity, the movie talks about the importance in understanding and there by empathizing with the women in your lives.

In more ways than one the movie takes a strong dig in the way mainstream heroes are being presented. Mention must also be made of scene where one of the protagonists is getting down on his knees in order to propose but the other two stop him, on surface its a simple act but underneath it reflects a certain kind of thinking.

Praveen Kandregula also deserves credit for the various potshots he takes at the lack of logic and stretching on episodes just because a population of women are obsessed about it. There is a wonderful meta scene where the serial hero is talking on the phone expressing his anguish about the missing wife and saying that he will definitely find her. Cut to the next shot the heroine is seen walking while the hero is busy talking on the phone. By the time he puts the phone down the heroine has walked away. This leads to an elderly woman fuming about the proceedings.

Talking about the laugh out loud moments a specific mention must be made of the portion where all the men are completely scared and out of their wits, yet they don’t utter a word to each other. Underneath the laughs it also reflects a certain kind of loneliness. The scenes of Samantha with the three protagonists also raise ample chuckles. Samantha’s character is again a spoof on the intense babas that we generally see in movies of this nature. Samantha is an absolute riot with her expressions and the way she uses her body language.

Samantha in an extended special appearance

The cast of Praveen Kandregula’s Cinema Bandi is also seen in this movie. They have been smartly integrated into the main plot, among the Cinema Bandi actors Rag Mayur makes his presence felt. Among the technical departments Mridul Sujit Sen does a fine job in capturing the place of Bheemli, in spite of the horror situation there is a certain beauty as well. The background score of Vivek Sagar also adds to the narrative.

The performances of all the actors is very good but the ones who stand out are Srinivas Gavireddy and Shriya Konatham.

Final word: Its good to see actresses putting their money behind projects like these which question patriarchy in a subtle way.

Posted on

Raid 2: More or less the same beats but works as a utopian tale of delivering justice

Ritesh Desmukh in Raid 2

Ritesh Desmukh’s avatar of a crooked and suave politician under the guise of a philanthropist is the most interesting part of this Rajkumar Gupta directorial. Ritesh once again proves that he is a very capable actor who can go beyond comic roles. Saurabh Shukla returns back as Tauji and the veteran actor is a complete hoot with his sarcastic humor and punch lines.

Starcast: Ajay Devgan, Ritesh Deshmukh, Vani Kapoor, Saurabh Shukla, Amit Sial and others

Genre: Crime thriller

Director and writer: Rajkumar Gupta

Additional writers: Ritesh Shah, Karan Vvyas and Jaideep Yadav

Producers: Bhushan Kumar, Krishan Kumar and others

Production Companies: T- Series Films and Panorama Studios

Music: Amit Trivedi, Rochchak Kohli etc.

Cinematography: Sudhir K. Chaudhary

Running time: 2 hours and 18 minutes

One way to describe the Raid movies is utopian tales of social justice, the reason being in today’s age honest income tax officers conducting raids on powerful people is a distant dream. Many are aware about the manipulative nature of the investigative departments and the way they have been used by the ruling party. In that sense both the Raid movies are more of aspirational tales on how an income tax officer should actually be like. Ajay Devgan as Amay Patnaik fits the bill perfectly given his larger-than-life image and also a solid presence.

Raid 2 primarily focuses on the Amay Patnaik’s 75th raid. In the initial portions of the movie Amay is accused of corruption charges. However this just turns out to be a facade on expected lines. Amay is actually collecting information on Ritesh Deshmukh’s Dada Bai, a suave politician with the image of a benevolent man. The local population of Bhoj considers Dada Bai as their god but beneath the philanthropist facade Dada Bai is actually a crooked politician with multiple crimes. The story focuses on the various hurdles faced by Amay Patnaik in bringing out the truth of Dada Bai with the help of certain people like Amit Sial’s Lallan Sudhir.

A major strength of Raid 2 is the battle of wits between Ajay and Ritesh Desmukh. The way Dada Bai outsmarts Amay Patnaik in the first half gives the movie some of its best moments. Ritesh presents a very calm demeanor systematically destroying all the evidence. The first half ends with Amay being suspended, also his reputation of a honest income tax officer goes for a toss.

Ritesh Desmukh as Dada bai is more of a sophisticated politician who doesn’t get his hands dirty but gets the work done through his men. This works as an interesting contrast to Saurabh Shukla’s Tauji who was more rustic. Also, the duality in the characterization of Dada Bai has come out well. This can be particularly seen in the way he worships his mother every morning by washing her feet. The mother played by Supriya Pathak considers her son to be an epitome of virtue when the actual reality is different.

It’s a long time since Ritesh has done something outside comedy and the actor does a very good job in portraying the different facets of Dada Bai. The way he exudes menace mostly through the eyes is brilliant to watch. Raid 2 once again shows Ritesh’s ability in adapting to different characters. This is another impactful performance from the actor who has proved that he is capable of doing more than just comedies, easily Ritesh’s best work post EK Villain.

Mention must also be made of Saurabh Shukla and Amit Sial, they contribute to some very entertaining moments. Saurabh Shukla is an absolute hoot with his punch lines; specific mention must be made of the scenes where Tauji takes pleasure in the downfall of Dada Bai. Amit Sial too makes his presence amply felt with his witty one liners. He plays the eccentric nature of Lallan Sudhir perfectly raising ample chuckles.

Amit Sial as Lallan Sudhir

A major problem with Raid 2 is the familiar beats coupled with Ajay Devgan’s characterization. There isn’t much of an upgrade to the role, as a result there is nothing new that Ajay brings to the table. Of course, the actor slips into the role with practiced ease, the serious gaze and the overall body language helps. However, there is a stale nature to his scenes because as viewers you know that Amay is completely pure and will win the battle.

Vani Kapoor also doesn’t add much to the proceedings other than looking gorgeous. Unlike Ileana she gets more to do but the romantic track and the overall arc doesn’t contribute anything significant to the movie. Supriya Pathak as the naive mother who later gets to know of the reality about her son fares much better.

Vani Kapoor as the supportive wife

Songs come across as more of speed breakers; however Tammana does look sizzling hot in the special number Nasha. The actress exudes a lot of sensuousness with her belly moves. Having said that the remixed version of “Paise Ye Paise” from Karz movie does make an impact. The placement of the song is absolutely perfect.

Watch Raid 2 if you are in the mood for a utopian tale of social justice and Ritesh Deshmukh’s acting

Posted on

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.

Posted on

Phule: A hard-hitting tale of revolution and solid companionship

Director Ananth Mahadevan is very successful in making the viewers feel that they are travelling alongside Jyothiba and Savitri Bhai Phule. The initial documentary style approach does take a while getting used to but soon the viewers get immersed in their fight against various social injustices. A strong aspect of Phule are its crisp yet highly impactful dialogues particularly those of Pratik Gandhi. The movie also speaks to today’s times during an important sequence. The spine of Phule is the solid companionship that Jyotiba and Savitri share which is rare to find both of and on screen.

  • Starcast: Pratik Gandhi, Patralekha, Vinay Pathak, Darsheel Safary, Alex O Niel and others
  • Genre: Biographical drama
  • Director and writer: Ananth Mahadevan
  • Producers: Sunil Jain, Ritesh Kudecha etc
  • Production Companies: Dancing Shiva Films and Kingsmen Productions
  • Music: Rohan–Rohan
  • Cinematography: Sunita Radia
  • Running time: 2 hours and 15 minutes

The immense work done by the husband-and-wife Jyotiba and Savitri bhai Phule is very difficult to capture in a movie format. The major reason for that is the duo fought against many evils which still exist in some form or the other. Phule much like Sandhya Suri’s Santhosh has also been through censorship issues with the CBFC demanding certain modifications due to the dialogues related to Manusmriti. Fortunately for genuine movie lovers Phule has managed to hit the screens though very few unlike Santhosh which may never see the light of the day. Irrespective of the censorship modifications there is no denying that Phule packs a strong punch with its understated approach and sharp dialogues. Director Anant Mahadevan along with his team have done a very authentic job in bringing alive those times.

Pratik Gandhi and Patralekha in the roles of the iconic social reformers

In simple terms the story of Phule focuses on the tumultuous and inspiring journey undertaken by the visionary couple during the times of British India. The movie begins in 1897 during a horrific plague leading to a mass migration. This horrific plague eventually results in the death of Savitri Bhai Phule (Patralekha). From here the story moves into a flashback zone where all the important events are covered starting from Savitri bhai’s early years and Jyotiba (Pratik Gandhi) educating his young wife.

Real life social reformers

A major strength of Phule are its brilliant atmospherics. Director Ananth Mahadevan along with his cinematographer Sunita Radia do a first-rate job in bringing alive the social atmosphere of 19th century Maharashtra. The movie has a lived-in feel transporting the viewers effortlessly into those times whether it is the portions of Maharashtrian hinter lands or a sense of claustrophobia in the caste ridden society of Pune. The styling of the actors is also excellent as the clothes they wear perfectly reflect that particular time period.

Apart from authentically recreating the time period Ananth Mahadevan also does a very fine job in showcasing the solid companionship that the two shared. The way both of them pretty much do every social activity together and the tenderness with which Jyothiba treats his wife is an absolute delight to watch. Special mention must be made of the scenes where Jyothiba gives equal credit to Savitri and how he defends her whenever the father tries to hurt Savitri and suggests second marriage. Jyothiba comes across as a true feminist, the love and affection that Jyothiba and Savitri have each other is tough to find in any married couple whether it is of the past and present. Often times a lot is communicated through simple gestures.

Talking about the social commentary the movie avoids a typical bombastic approach, instead the reliance is on sharp dialogues. A very good example of this is a courtroom scene where Jyothiba questions an upper caste lawyer on avoiding a barber by doing his own shaving. There is another important bit when Jyothiba is honored with the title of Mahatma. He makes significant points on how people are so easily provoked in the name of religion and caste, in a way he has foreshadowed today’s political atmosphere. He ends the speech by talking about the need to keep alive the spark of revolution.

Mention must also be made of how Anant Mahadevan has depicted his British characters. More often than not the British officials in Indian movies are presented in an extremely caricaturist way. Shoojit Sarcar’s Sardar Udham Singh is one of the few exceptions. Regular foreign actor Alex O ‘ Niel adds an interesting layer as the British collector who has genuine empathy towards Jyotiba and Savitri Bhai Phule’s social crusade, at the same time he is also bound by the constraints of imperialism. Alex O Niel plays his role with a lot of understatedness. Both the writing and acting make sure that his character doesn’t come across as a typical caricature.

The background score coupled with the music also add to the movies immersive tone. The love ballad Sathi in particular is very tuneful sung melodiously by Monali Thakur. It immortalizes the deep love that Jyothiba and Savitri bhai had each other. On the other hand, there is the revolutionary number, Dhun Lagi. This song works as a perfect companion piece in the portions of revolution.

Both Pratik Gandhi and Patralekha get into the skin of their respective characters coming up with stirring performances. Pratik Gandhi imbibes Jyothiba with a quiet intensity, his eyes particularly convey a lot of emotions whether it is showcasing pain at the plight of lower caste people or the determination to bring a revolutionary change. Mention must also be made of how he portrays the affectionate and tender nature of Phule. With this act Pratik Gandhi once again, proves that he is an extremely versatile actor. Patralekha too disappears into the role portraying the grit of Savitri bhai Phule. She perfectly captures the strong feminist spirit proving to be a perfect foil for Pratik Gandhi. A specific mention must be made of the scene where she is threatened by an upper caste man. Instead of retreating Savitra Bhai holds her ground with a solid response. The intensity with which Patralekha portrays the fiery nature is simply fantastic. The chemistry between Pratik and Patralekha in the moments of tender romance particularly stands out.

The supporting cast led by Vinay Pathak and Darsheel Safary also do a fine job. A mention must be made of Akshaya Gurav as Fatima Sheikh. She brings in the required fire proving to be a perfect support for the husband and wife. Through her role Ananth Mahadevan touches upon the angle of communal harmony too. Vinay Pathak in the role of Govindrao also makes his presence amply felt as the anthesis to Jyotiba’s revolutionary thinking.

Hope more people see the film in theaters given the relevance of Jyotiba’s ideology.

Posted on

Sarangapani Jathakam: An interesting concoction of screwball comedy and social satire

Sarangapani Jathakam Priyadarshi

Sarangapani Jathakam marks a mini comeback for the respected filmmaker Indraganti Mohankrishna. In terms of of repeat value the movie doesn’t completely match up to the likes of Ashta Chamma and Sammohanam however there’s quite a bit to to enjoy for the viewers if you buy into Sarangapani’s eccentric behavior, the movie ends with a small yet an important message on the dangers of blind faith. The combo of Priyadarshi and Vennela Kishore are the films spine raising many chuckles

Starcast: Priyadarshi, Vennela Kishore, Viva Harsha, Roopa Koduvayur and others

Genre: Comedy

Director and writer: Indraganti Mohankrishna

Producer: Sivalenka Krishna Prasad

Music: Vivek Sagar

Production Company: Sridevi Movies

Cinematography: P.G. Vinda

Running time: 2 hours and 20 minutes

Indraganti Mohankrishna’s huge love for novels and how he incorporates them into his movies is a well known thing. Starting from his debut Grahanam the director has mostly taken inspiration from Telugu and English literature. A very good example of this is the Nani and Srinivas Avasarala starrer Ashta Chamma. The clear inspiration for the movie was Oscar Wilde’s hilarious play The Importance of Being Earnest. The novel was a farcical comedy dwelling into the themes of social expectations and class among others. The director did a fantastic job in Indianizing Oscar Wild’s novel majorly helped by the wonderful starcast . Sarangapani Jathakam is also inspired from Oscar Wild’s work, this time a semi comic tale Lord Arthur Savile’s crime. This absurd story followed the efforts of an aristocrat in committing a murder before marrying his fiancé, the reason being a palm reader says that lord Arthur would commit a murder and this man blindly believes in the prophecy leading to a lot of chaotic moments.

Director and writer Indraganti Mohankrishna places this story in the context of a young man’s obsession with astrology. Sarangapani played by a wonderfully eccentric Priyadashi attributes every good thing in his life due to a twist in his fate and miracles rather than his own personality and talent. The movie wastes no time in establishing Sarangapani’s obsession with astrology, in fact the movie begins with the protagonist tracking down horoscope predictions both on TV and in newspapers. In real life we often come across numerous individuals who have the traits of Sarangapani but here the eccentric nature is dialed up to a thousand. In simple terms the story focuses on how Sarangapani’s obsession with astrology turns his life upside down. The many problems that he faces both professionally and personally along with Sarangapani getting out of a self created mess.

Priyadarshi, Vennela Kishore and Viva Harsha

A major strength of Sarangapani is the whacky characterization of Priyadarshi coupled with his winsome performance. The way Priyadarshi portrays the sheer conviction of Sarangpani’s irrationality often brings the house down particularly if the viewers buy into his behavior. Priyadarshi brings the perfect mix of innocence and vulnerability showcasing a different facet of him after a serious role in Court. His conversations with Vennela Kishore needs to be specifically mentioned when the movie moves into a crime zone. The way Vennela Kishore’s Chandru plays along with his friend’s madness and the seriousness with which they make the plans of choosing an evil person raises ample chuckles.

Vennela Kishore with his dead pan humor and dialogue delivery perfectly compliments Priyadarshi’s histrionics. A particular stretch worth mentioning here is the track of a cantankerous old woman and a bewildered son. This portion delivers plenty of laughs with excellent wordplay. Priyadarshi and Vennela Kishore together majorly contribute to the movie’s entertainment quotient even when the proceedings start to get more absurd and illogical.

Mention must also be made of Viva Harsha’s Ramki. Ramki is a head waiter, he becomes a scapegoat in his friend’s elaborate plans. In spite of a very late entry Viva Harsha also raises chuckles with his quirky humor. The trio share a wonderful chemistry.

Just like Sammomohan Sarangpani Jathakam also critiques the media culture. In that movie Indraganti Mohankrishna mocked the gossip websites. In this one its about the troll economy, anonymous rage fueled by personal dissatisfaction. The movie also has some interesting pop culture references particularly a character’s obsession with alpha male. The movie also takes a jibe at the formulaic nature of mainstream Telugu screenwriting with a self aware tone.

A major drawback for Sarangapani Jathakam is the weakly written love story. Roopa Koduvyaar as Maithali has a lovely presence and plays her part with poise. The good thing about Maithali is that she is no push over however for the emotional drama to work better the love story needed more depth which is severely lacking here. The comedy takes a front seat as a result the love story gets majorly dialuted. Also the movie could have done with more psychological insight into the reasons behind Sarangapani’s obsession with horoscopes and astrology. The likes of VK Naresh and Tanikella Bharani also don’t make much of an impact majorly due to the loosely written characters. Srinivas Avasarala in the role of a flamboyant soothsayer has an interesting character design and he makes complete use of it in spite of the limited screen time. Vivek Sagar’s music is not of the standout variety but it goes with the flow of the movie.

Posted on

Santhosh: A disturbing tale with no easy answers

Unlike its title there isn’t much to cheer here, director Sandhya Suri presents a grim scenario dealing with various burning topics like police brutality, the everyday struggles of the marginalized sections and the failures of our justice system among others. The scenes of police brutality and the misuse of power are very raw in nature, it isn’t surprising that Santhosh has made both the censor board and the government uncomfortable

  • Starcast: Shahana Goswami, Sunita Rajwar and others
  • Genre: Crime drama
  • Director and writer: Sandhya Suri
  • Producers: Mike Godridge, James Bowsher etc
  • Production Companies: BBC Film, Good Chaos etc
  • Cinematography: Lennert Hillege
  • Running time: 2 hours and 8 minutes

Sandhya Suri’s Santhosh has been through many hurdles due to its raw depiction of social issues raising uncomfortable questions. The censor board has blocked Santhosh release date due to the movie’s tone, unlike most mainstream masala films with cops Santhosh examines the misuse of power by the cops, this includes custodial torture. The movie also takes the burning topics of islamophobia and casteism head on. However the hurdles created by the censor board hasn’t stopped Sandhya Suri from taking the movie to various film festivals, this includes the 77th Cannes Film Festival and MAMI Mumbai Film festival among others. After seeing the movie it’s very clear on why the movie has rattled so many.

Santhosh primarily focuses on the journey of Shabana Goswami’s Santhosh Saini. Santhosh had lost her constable husband during a riot. The in-laws of Santhosh have certain issues with her due to a supposed ill behavior. The pension of her husband isn’t substantial enough, additionally Santhosh could also lose her husband’s quatre. Santhosh is left with no other option other than to join the police force, this happens due to a government scheme. As a police constable and a women Santhosh soon becomes aware of the numerous biases and the discriminatory practices within the department. Things take a major turn when a girl from a lower spectrum of society is raped and murdered. A new officer Geeta Sharma played by Sunita Jarwar takes charge of the case. This is the story in brief.

A strong aspect of Santhosh is the delicate balancing of the numerous issues addressed by the movie. At no point the movie feels like an overstuffed menu, this is because of the taught writing and direction. There is a seamlessness in the flow of proceedings.

Some of the powerful scenes in Santhosh include the police being more concerned with installing so called moral and cultural values in young couples through threats or taking bribes. There is another hugely poignant portion where the police turn a blind eye to the sufferings of the lower strata. As a female constable Santhosh herself is faced with numerous instances of power hierarchy. For example in the one of the earlier scenes she is seen taking an officer’s puppy for a walk, on the surface it may appear as a simple moment but it brings forth a lack of agency due to her position along with the gender aspect.

Through the character of Santhosh Sandhya Suri presents a hard hitting picture on what it means to be a poor woman. The reason for Santhosh joining the department is due to the adverse circumstances around her. As a result she suppresses her frustrations knowing very well that her opinions carry little weight in this fractured system.

Santhosh’s only solace is her equation with Sunita Rajwar’s Geeta Sharma. Geeta becomes an unlikely mentor for Santhosh. There is a genuine empathy that Geeta feels for Santhosh being a woman and a police official herself. The scenes of friendship and compassion between them give the movie some of its best moments. Sunita Rajwar best known for her role of a nosy neighbor in Gullak web series shows a vastly different side of her. She does a very good job in balancing the stern attitude with moments of genuine compassion. In the titular character Shahana Goswami does a very good job in portraying the different facets of her role. The actress is particularly good in portraying emotions just through body language.

Talking about the aspect of islamophobia this comes out strongly through the repeated torture of a Muslim man. There is a very chilling scene involving a guy called Saleem he is repeatedly beaten and thrashed forcing him to confess for a crime he hasn’t committed. Even Santhosh ends up partaking in the brutality, its connected to her husband’s death. This Muslim man is a soft target as its easier to pin the blame on a minority community rather than going against the deeply entranced power structure. In these portions the aspect of religious prejudice comes out in an hard hitting manner.

The movie also benefits from the rugged atmospherics. The plot is set in a fictional state of Chirag Pradesh but in actuality parallels can be drawn to any part of India where the upper caste dominate the socio political landscape. The cinematography by Lennert Hillege is of the highest order too, a specific mention must be made of the intense close up shots reflecting the inner anguish faced by Santhosh. This comes out starkly in the portions of Santhosh brooding in her staff quatres or being stranded in the middle of the road. It reflects the moral crossroads which Santhosh finds herself in. The sound design of Nikola Medic, Bruno Tarriere etc also adds to the dramatic element.

Posted on

Jatt: A Sunny Deol mass extravagance

Jatt written and directed by Gopichand Malineni is the perfect example of Bollywood’s growing obsession with fusion cinema the garnishing of South Indian tadka in a north body. For fans of Sunny Deol particularly the single screen ones the movie will be an absolute delight. At the age of 67 Sunny Deol still packs a punch with his dhai Kilo Ka Haath. The group of villains led by Randeep Hooda are formidable too

Starcast: Sunny Deol, Randeep Hooda, Regina Cassendra, Vineet Kumar Singh, Saiyami Kher, Jagapathi Babu and others

Genre: Action drama

Story, direction and screenplay: Gopichand Malineni

Dialogues: Sai Madhav Burra and Saurabh Gupta

Producers: Naveen Yereneni, T.G Vishwa Prasad and others

Production Companies: Mythri Movie Makers, Zee Studios and People Media Factory

Music: Thaman S

Running time: 2 hours and 38 minutes

The mega success of the films Pushpa 1 &2, RRR, KGF 1&2 and Kalki 2898 AD has created an identity crisis for Bollywood’s commercial cinema. A certain desperation has come in wanting to have the south Indian Masala in a North Soul. A very good example of this is last year’s Baby John directed by Atlee’s assistant Kalees. On numerous occasions Varun Dhawan was trying to ape the charismatic Vijay Thalapathy forgetting his own strengths. Not surprisingly the movie ended up as a box office turkey. Just a few weeks back there was AR Murugadoss Sikander with Salman Khan. Instead of being an Eid treat it ended up as a massive disappointment even for hardcore Salman fans. Jatt directed by Gopichand Malineni doesn’t match up to Atlee’s Jawan which had a good fusion of South Melodrama combined with the Starpower of Shah Rukh Khan. However, Jatt is a competent cocktail of action and melodrama powered by Sunny Deol’s larger than life persona.

The storyline of Jatt kicks off in the year 2009 in the jungles of Sri Lanka. Randeep Hooda’s Ranatunga is a former LTTE fighter. He along with his brother Somulu (an entertaining Vineet Kumar Singh) and a few more stumble upon a buried treasure amidst the ruins of a civil war. This revelation of a buried treasure pushes Ranatunga and co into the depth of greed. Soon Ranatunga establishes a vast criminal Network with the help of acquired gold. A major strength of Ranatunga apart from his brother Somulu is the wife played by an excellent Reginna Cassandra. At this point you have the entry of a mysterious stranger played by Sunny Deol. True to the title Sunny Deol plays a powerful Jatt with no fear and truly a bulldozer capable of demolishing any number of men. His arrival in the town causes a big mayhem starting off from a scene in a roadside shack which is a perfect mixture of comedy and action.

It goes without saying that Sunny Deol is the lifeline of Jatt. The actor makes even the outlandish of situations work with his powerful presence. He delivers the punchlines with the required intensity and also shines in the melodramatic portions. Jatt is an absolute goldmine for Sunny Deol hardcore fans. The actor also raises chuckles with his understated comic timing. The best example of this is the scene involving a simple apology request over a dropped idli. A lot of the first half has this as a recurring point raising many chuckles. Of course, in the action scenes he pummels the bad guys in Nandamuri Balakrishna style but because of the conviction the suspension of belief becomes easier. Talking about the punchlines a special mention must be made of the scene where he says “Yeh Dhai kilo ke hath ki taakath north dekh chuka hai, ab south dekhage (North has already seen the power of this 2.5 kilo arms, it’s South turn now).

Randeep Hooda as Ranatunga

Jatt also benefits from the strong batch of villains. Randeep Hooda does a very fine job in conveying Ranatunga’s greed for power and money. The way he hacks people with a cold and calculated demeanor makes him for a perfect despicable opponent. Vineet Kumar Singh as Somulu too has a lot of fun as a deranged younger brother. After Chhavva and Superboys of Malegaon Vineet showcases a different facet of him. Regina Cassandra too springs a pleasant surprise as Ranatunga’s spouse and partner in crime. She perfectly conveys the ruthlessness and ambitious nature while being elegantly dressed.

Reginna Cassandra also springs a pleasant surprise

Saiyami Kher and the fellow women officers offer an interesting counterpoint to their male ones. They are miles ahead in terms of both bravery and honesty. Saiyami Kher brings in an emotional depth as a determined police officer with strong mental strength. Talking about the other actors Jagapathi Babu as CBI officer Sathyamurthy has a strong presence but the veteran is mostly seen travelling first in a private plane and then in a car heading towards to the village where Ranatunga is causing carnage. His only job is to applaud the strength of Sunny Deol’s character.

A major problem with Jatt is too much of gruesome violence even for the standards of mainstream commercial cinema. The violence is often graphic making it a difficult watch particularly for the ladies and family audiences. The women characters often become the punching bag for the gruesome acts of violence. The movie features numerous shots of them being assaulted and in some cases helpless too.

The inherent South melodrama makes Jatt a tough watch too specifically for those who don’t have much exposure to South commercial cinema. A perfect example of this is the character played by a highly melodramatic Zarina Wahab. Thaman’s songs don’t add much to the plot. A special song by Urvasi Rautela in particular leaves a bitter after taste with its tacky choreography. The background score is very loud and jarring in nature however in some portions it does make an impact like the fight scenes featuring Sunny Deol and his entry.

Final word: This Sunny Deol mass extravagance is a treat for those like the fusion of south larger than life with north tadka. For the rest though its avoidable.

Posted on

Veera Soora Dheeran (Part 2): A delightful star vehicle with an in form Vikram

S U Arun Kumar’s latest directorial is a major departure from his previous movie Chittha in more ways than one. This one is more generic and not as hard hitting in comparison to the last one still Veera Dheera Sooran Part 2 makes for an engaging mass cinema. The surprise package is comedian Prudhvi Raj who excels in a negative role.
  • Starcast: Vikram, Dushara Vijayan, S J Suryah, Prudhvi Raj, Suraj Venjarmoodu and others
  • Genre: Action drama/thriller
  • Writer and director: S U Arun Kumar
  • Producers: Riya Shibu and Shibhu Thameens
  • Cinematography: Theni Eshwar
  • Music: G V Prakash Kumar
  • Production Company: H R Pictures
  • Running time : 2 hours and 30 minutes

Before dissecting Veera Dheera Sooran 2 its necessary to look at why it’s called part 2. A major reason for the movie being called part 2 is that the characters already know each other with established relationships. The movie is both a sequel and prequel simultaneously. Prequel because there is an important flashback explaining the events leading up to the current predicament of its titular protagonist.

The storyline of Veera Dheera Sooran mostly takes place during a particular night. The movie starts off with a woman coming to the house of Periyar Ravi and his son Kannan (Prudhvi Raj and Suraj Venjaramoodu respectively). The woman accuses the father and son of causing harm to her husband. Both of them deny having any hand in the matter but its clear that neither of them are good souls. Meanwhile the husband is seen in the police station giving an important complaint, this compliant has the potential of causing mayhem in the life of Periyar Ravi and son Kannan. S J Suryah is SP Arunagiri, Arunagiri has some old scores to settle and he decides to use this as an opportunity. The situation reaches a point where Periyar Raj is left with no other option other than to bring back his trusted henchman Kaali ( a robust Vikram). Kaali is now a settled family man having left his dark past long time back but eventually gives in due to the continuous pleading of Periyar Ravi. Dushara Vijayan plays the strong housewife Kalai. This is the story in brief nothing more can be revealed.

Vikram and Dushara Vijayan

A strong aspect of Veera Dheera Sooran 2 is how the director has balanced the massy pitch with vulnerability. There is a palpable tension particularly in the first half, Kaali is seen in a very vulnerable situation going through a lot of internal and external conflicts. He is up against individuals whom he cannot completely trust but at the same time has no other option other than to help Periyar. The shared history between Kaali, Arunagiri and Periyar Ravi is kept to a bare minimum making the viewers connect the dots themselves.

The cat and mouse game also has some thrilling moments like the portion involving the dangerous landmine. Even the first interaction between Kaali and Arunagiri has some powerful mass moments with well written punch lines.

The movie also benefits from the fantastic technical department headed by Theni Eshwar’s fantastic cinematography. The way he captures the grittiness of the night situations with the hand held shots and the dim lighting helps significantly in creating a tense atmosphere. GV Prakash’s songs along with his background score also elevate the movie in many ways. His background score particularly stands out in the moments of tension.

Although Veera Dheera Sooran 2 is essentially a mass movie the writing is pretty layered. The best example of this is SJ Suryah’s Arunagiri. The character starts off as a sincere police officer but soon the viewers see him becoming the instigator. He becomes a man consumed with revenge with a calculated malice. The actor dials down his trademark eccentrics showcasing a different facet of him. Even the character of Dushara Vijayan’s Kalai isn’t one dimensional. Kalai is shown to be a sensible and lovable wife but even she picks up a knife at a certain point due to certain circumstances.

S J Suryah as Arunagiri

What pulls down Veera Seera Dhooran part 2 is the flashback portion. The writing starts to get tedious slowing down the movie’s pace significantly. Also the film’s generic storyline with the traditional elements of the hero outsmarting the villains reduces the tension. The pre climax with Vikram taking on the many baddies in spite of being thrashed and even shot makes the proceedings difficult to digest even in the template of mass commercial cinema.

In the role of Kaali Vikram delivers an outstanding act, its a far better star outing than the unnecessarily convoluted Thangaalan. The actor particularly shines in the portions where Kaali is going through a lot of emotional turmoil. The surprise package though is comedian Prudhvi Raj who is generally known for his numerous comic roles. As Periyar Ravi Prudhvi Raj does a terrific job in conveying both the menace and also the vulnerability of a family man. A scene which particularly stands outs is the portion where Periyar pleads for Kaali’s help. There is a palpable helplessness wonderfully conveyed by the actor. Dushara Vijayan also makes a significant impact. Her part of Kalai isn’t there just for the sake of it, she adds an emotional depth. Suraj Venjaramoodu as the impulsive son also has his moments.

Prudhvi Raj as Periyar Ravi is the surprise package

Veera Dheera Sooran Teaser

Final word: Veera Dheera Sooran is a must watch for fans of rustic action dramas and Vikram.