Category: Telugu Movie Reviews

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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.

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Hit 3: Nani’s mass jathara

Nani as the psycho cop from Hit The Third Case

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

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

Genre: Action

Director and writer: Sailesh Kolanu

Producer: Prashanti Tripirneni

Production Companies: Wall Poster Cinema and Unanimous Productions

Music: Mickey J Meyer

Cinematography: Sanu Varghese

Running time: 2 hours and 30 minutes

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

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

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

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

Nani as the violent cop

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

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

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

Nani and Srinidhi Shetty

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

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

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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.

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

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

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

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

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

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

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

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

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

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

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

Premalo song perfectly captures the teenage romance

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

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

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Laila: Vishwak Sen’s latest is a sour experience

‘Laila’ briefly comes alive in the second half when Vishwak Sen dons the lady get up but the weak writing plays a major spoilsport. The major problem is its over-reliance on crass humour and less on emotions.
Laila (Telugu), 14-02-2025, Drama, 2 hours 16 minutes U/A, Theatre
  • Main Cast: Vishwak Sen, Akanksha Sharma, Abhimanyu Singh, and Babloo Prithiveeraj
  • Director: Ram Narayan
  • Producer: Sahu Garapati
  • Music Director: Leon James
  • Cinematography: Richard Prasad
  • Rating: 2/5

Over the years numerous leading men have successfully transformed into female avatars. Whether it is the legendary Kamal Haasan in the rollicking entertainer Avvai Shanmugi (1996) (in Telugu Bhamane Satyabhamane).

In the Telugu film industry too, both Rajendra Prasad and VK Naresh experienced huge success with Madam (1994) and Chitram Bhalare Vichitram (1992). These movies have outlandish scenarios but they are backed by cohesive writing and a strong emotional core.

Talking about Hindi actors Ayushmann Khurrana tasted major success with his female get-up in the Dream Girl 2 (2023). And now, actor Vishwak Sen has tried something similar, how did he fare?

Synopsis

Laila directed by Ram Narayan had the potential of being a good Valentine’s treat but the treatment makes it a tedious watch for most of its running time.

Vishwak Sen is a capable young actor, but his selection of scripts has been getting worse and Laila is a perfect example.

The storyline of Laila focuses on Sonu Model (Vishwak Sen). Sonu runs a beauty parlour in the area of the old city. Sonu is extremely popular among the ladies for both his makeup skills and also his helpful nature.

Sonu’s helpful nature is reflected when he allows a customer to use his name for an oil brand. However, this decision leads to a dramatic shift in his life. Due to certain circumstances, Sonu is forced to transform into Laila. The rest of the story revolves around why Sonu undergoes this transformation and the events that follow.

What works and what doesn’t

Laila has very few redeeming qualities and one of them is Vishwak Sen’s avatar as a female. He brings in a certain charm while seducing the men around him particularly Abhimanyu Singh— the comic villain.

Vishwak Sen in Laila
Vishwak Sen in ‘Laila’. (X)

The way he portrays femininity, starting from the body language showcases Vishwak’s capability in attempting different roles. The scenes between him and Abhimanyu are an absolute riot even though it borders on farce.

As Sonu Model, Vishwak Sen does a fair job, particularly in the scenes where Sonu talks about his emotional attachment towards the parlour. Abhimanyu Singh as a married man lusting after Laila gives the movie some much-needed energy.

The way he adores Laila brings a smile to the viewers’ faces, the viewers feel that he is genuinely in love with Laila.

The major problem with Laila is too much emphasis on crass humour. Most of the dialogues are way below the belt producing more groans than laughs. Sonu’s connection with the parlour and him being a makeup artist is a very novel concept but this angle isn’t sufficiently developed.

The love track between Vishwak Sen and Akansha Sharma has also been haphazardly written. Portions involving Akansha’s interactions with Sonu majorly pull down the movie.

The songs composed by Leon James are another downer. None of them come close to standing out. The movie also has some unnecessary references to megastar Chiranjeevi’s films.

Final take

To sum it up Laila leaves a bitter aftertaste. Watch it only if you are in the mood for some senseless fun.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/telugu/laila-movie-review/

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Thandel: The triumph of love

Director Chandoo Mondeti succeeds in delivering a heartfelt love story along with capturing the everyday dangers of a fisherman’s life making the viewers empathize with their plight. At the same time typical patriotic elements pull the movie down.
Thandel (Telugu), 07-02-2025, Action, Drama, 2 hours 32 minutes, U/A, Theatre
  • Main Cast: Naga Chaitanya Akkineni, Sai Pallavi, Aadukalam Naren, and Karunakaran
  • Director: Chandoo Mondeti
  • Producer: Bunny Vas
  • Music Director: Devi Sri Prasad
  • Cinematography: Shamdat Sainudeen
  • Rating: 3/5

Many fishermen from both sides of the border drifting into the territory of either India or Pakistan is unfortunately a very common phenomenon.

These people are suspected of being spies and put in jail for a very long time. Chandoo Mondeti focuses on one such tale. This tale however has a happy ending.

For those who don’t know what Thandel means it is a term denoting leader.

Synopsis

At the heart of Thandel is an intense love story between Raju (Naga Chaitanya) and Satya (Sai Pallavi). Raju is a fearless fisherman from the coastal area of Srikulam. Due to his bravery and honesty, Raju is soon honoured with the title of Thandel (leader).

It is a very big honour for Raju but Satya becomes extremely worried about Raju’s safety after a particular incident. She pleads with him to give up fishing forever but Raju is deeply committed to his community of fishermen and his principles.

Despite Satya’s warnings, Raju heads out to the sea and unknowingly drifts into Pakistani waters while saving their countrymen. This turns the lives of Raju and others upside down.

The rest of the movie focuses on how Raju and his men return home and of course whether Raju and Satya have a happy ending.

What works

Thandel is based on real incidents
‘Thandel’ is based on real incidents. (X)

The best part of Thandel is how Chandoo Mondeti along with the storywriter Kartik Theeda has explored the lives of fishermen. A constant sense of danger while going out on the sea and the huge effect it has on their dear ones has come out very well.

The use of the Srikakulam dialect and the rustic surroundings are a major plus for the movie. There is no sense of artificiality, making the viewers empathize with the daily risks. A sense of brotherhood among the fishing community also comes out strong.

The love story between Naga Chaitanya and Sai Pallavi has a good mix of light and emotionally touching moments. Their initial scenes have a sense of lightheartedness bringing a smile to the viewers’ faces.

At the same time, the build-up to Satya’s conflict and the highly charged emotional moments make the viewers feel for the couple.

The best part of the conflict point is that both Raju and Satya are right in their ways. Raju as a Thandel has a certain duty towards his community. Going out on the sea and capturing fish is very important for the survival of families.

At the same time, Satya’s fears are also valid given her love for him. This has come out very well.

What doesn’t work

A major problem with Thandel is the tried and tested patriotic troupes, with the Pakistani characters mostly a caricature.

A clash between Naga Chaitanya and a Pakistani terrorist suffers on account of weak writing. Prakash Belwadi as the Pakistani jailer is mostly meant to be stern and anxious, both of which he pulls off competently but there isn’t much meat in the role.

Towards the end, there is an abrupt change in his behaviour but it doesn’t register strongly. Similarities with Randeep Hooda’s Sarabjit also pull the down movie, somewhat giving a major déjà vu.

Technical aspects

Devi Sri Prasad’s music and background score is another plus for the movie. Among the songs, “Bujji Thalli” and “Hilesso Hilessa” pack a major punch. His background music is also of a very high order elevating the emotional scenes in particular.

The cinematography of Shamdat Sainudeen is also fantastic. He does a brilliant job of capturing both the rustic surroundings and also a thrilling portion involving the sea.

Performances

A still from the film Thandel
A still from the film ‘Thandel’. (X)

Both Naga Chaitanya and Sai Pallavi deliver first-rate performances. Their acting along with the chemistry majorly keeps the movie afloat even when the second half goes into a mundane territory.

In the last few years, Naga Chaitanya has delivered some outstanding performances in the movie Love Story (2021) and also the web series Dhootha. Thandel is yet another top-notch act from him. He gets into the skin of the role splendidly portraying the various shades.

He looks every inch the rugged fisherman and the fearless Thandel. Naga Chaitanya also expresses his vulnerabilities splendidly when Satya refuses to communicate with him.

Sai Pallavi as Satya is also equally good. She makes the viewers feel the pain of Satya, on more than one occasion. She may across as too stubborn for some but her emotional portrayal of Satya’s inner dilemmas will make the viewers empathize with her concerns.

There is also a deep inner strength which comes out in the second half when Satya takes it upon herself to save the community; Sai Pallavi portrays both these shades wonderfully.

Among the rest, Tamil actor Karunakaran leaves the biggest impact as the empathetic third wheel. There is a genuine honesty to the role and Karunkaran brings that out wonderfully.

Final take

To sum it up, Thandel mostly works as an intense love story, a tighter second half without the patriotic troupes would have made this a more engaging one.

(Views expressed here personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/thandel-movie-review/

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Sankranthiki Vasthunam: A fun filled Sankranti outing in trademark Anil Ravipudi style

‘Sankranthiki Vasthunam’ is a wholesome entertainer particularly for those likeVenkatesh’s brand of comic timing and Anil Ravipudi’s whacky storytelling.

Sankranthiki Vasthunam (Telugu), 13-01-2025, Action, Comedy, 2 hours 24 minutes, U/A, Theatre
  • Main Cast: Venkatesh, Aishwarya Rajesh, Meenakshi Chaudhary, and Upendra Limaye
  • Director: Anil Ravipudi
  • Producer: Shirish
  • Music Director: Bheems Ceciroleo
  • Cinematography: Sameer Reddy
  • Rating: 3.5/5

In a short span of time, Anil Ravipudi has established himself as a successful commercial director. His stories rely more on punch lines and outlandish humour rather than a coherent storyline.

However, the conviction with which he narrates his stories and the actor’s commitment makes them hugely enjoyable. Very good examples are F2: Fun and Frustration (2019) and its sequel F3 (2022).

The director also proved his versatility with the action drama Bhagavant Kesari in 2023. He did a fine job in merging Nandamuri Balakrishna’s stardom with strong beats of women empowerment.

Synopsis

With Sankranthiki Vasthunam, the director returns to familiar territory. A whacky comedy with elements of family drama, the storyline isn’t high on logic, and often borders on being farcical, but what holds the movie together majorly is Venkatesh’s brilliant act coupled with Anil Ravipudi’s narration.

Sankranthiki Vasthunam begins off with a kidnap scenario. A CEO of the world’s number one tech company Aakella (Srinivas Avasarala) is kidnapped on his visit to India. The government has a big responsibility to bring Aakella back.

Venkatesh plays suspended officer YD Raju, extremely well known for his notorious handling of criminals, shooting them at his will.

Due to the numerous complaints of a human rights organization YD Raju is suspended. Meenakshi Chaudhary plays VD Raju’s ex-girlfriend and a police officer herself. Meenakshi and YD Raju had a bitter break-up.

YD Raju makes a promise not to marry anyone else but it turns out that he is a happily married man with Bhagyalakshmi (Aishwarya Rajesh). They have four kids, among the kids, Bheemla Revanth Pavan Sai Subhash is the most important one.

Meenakshi comes to VD Raju’s place to seek help from him and also a certain hope of reconnecting but is thoroughly shocked to know that he has moved on. The rest of the story focuses on the tangle that VD Raju finds himself in and how Meenakshi and Co are able to free Aakella with his help. There is a small subplot as well connected to the importance of respecting teachers.

Strong aspects

Sankranthiki Vasthunam is a comedy entertainer
‘Sankranthiki Vasthunam’ is a comedy entertainer. (X)

A strong aspect of Sankranthiki Vasthunam is undoubtedly the characterization of Venkatesh, coupled with his wonderful act. The senior actor isn’t new to the genre of humour.

The actor’s comic timing in movies like Malliswari (2004), F2 and F3 along with Nuvvu Naaku Nachav (2001) has brought the house down raising many chuckles. Still, director Anil Ravipudi brings out a different side to his comedy.

As a man caught between his ex and his wife, while handling the important task at hand Venkatesh is simply brilliant. He brings the house down on many occasions with his expressions and lifts many of the movie’s comic moments with his wonderful sense of timing.

Performances

Venkatesh portrays a loving family man, an ex-lover and a smart cop in a wonderful manner. A particular mention must be of the pre-climax fight when his character lets out all the pent-up angst. There is a super mix of action and comedy thoroughly entertaining the viewers.

His chemistry with both Aishwarya Rajesh and Meenakshi Chaudhary is the icing on the cake. The scenes involving a trio are super fun to watch as well.

Aishwarya Rajesh as the jealous yet lovable wife does a great job too. There is a certain naivety to Bhagyalakshmi which Aishwarya pulls off wonderfully. Aishwarya’s portrayal of jealousy and insecurity whenever Meenakshi gets close to her husband is brilliant to watch.

Anil Ravipudi directorial Sankranthiki Vasthunam
Anil Ravipudi directorial ‘Sankranthiki Vasthunam’. (X)

Meenakshi Chaudhary as the cop and an ex-girlfriend also gives a good account of herself. After playing the roles of housewife in Lucky Baskhar and Matka, this marks a different terrain for her and the actress more than holds her own opposite Venkatesh and Aishwarya Rajesh.

Special mention must also be made of Bheemla Revanth Pavan. As a boisterous kid with OTT-inspired curses, the child actor does a very good job. The chemistry between Venkatesh and Bheemla Revanth adds to the fun element.

Upender Limaye plays an eccentric cop with a high pitch. His scenes often border on being loud still it goes with the movie’s nature.

Technical aspects

Bheems Ceciroleo’s music is another asset for the movie with Ramana Gogula’s “Godari Gattu” being a major highlight. Apart from that, the song “Meenu” showcasing YD Raju and Meenakshi’s romantic past is also a fun number.

Talking about the movie’s flaws there is a shabbily written subplot about respecting and remembering your teachers. The message behind this is noble as teachers are an important pillar of society and worthy of respect, however, the way it has been integrated is patchy.

Also, the second half has moments of repetitiveness in terms of humour. Some sequences with farcical humour test the viewer’s patience.

Final take

To sum it up Sankranthiki Vasthunam is a perfect watch for those looking for light-hearted entertainment. Fans of Anil Ravipudi and Venkatesh will have a blast.

(Views expressed here are personal, edited by Sumavarsha Kandula)

https://thesouthfirst.com/entertainment/telugu/sankranthiki-vasthunam-movie-review/

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Daaku Maharaaj : A mass feast for Balakrishna’s die hard fans

Bobby Kolli’s ‘Daaku Maharaaj’ doesn’t break any grounds in terms of the story. It is a tried and tested good versus evil saga somewhat elevated by Balakrishna’s star power.
Daaku Maharaaj (Telugu), 12-01-2025, Action, Drama, 2 hours 30 minutes, U/A, Theatre
  • Main Cast: Nandamuri Balakrishna, Bobby Deol, Shraddha Srinath, Pragya Jaiswal, and Chandini Chowdary
  • Director: Bobby Kolli
  • Producer: Suryadevara Naga Vamsi
  • Music Director: S Thaman
  • Cinematography: Vijay Kartik Kannan
  • Rating: 2.5/5

Bobby Kolli’s Daaku Maharaaj plays out like an unabashed love letter to the crazy fan following of Nandamuri Balakrishna.

Balakrishna’s connection with the masses is undeniable, regardless of whether you like the actor or not.

Bobby Kolli uses the connection to the hilt to keep the viewers invested.

Synopsis

In simple terms, the story of Daaku Maharaaj focuses on a civil engineer turned vigilante. The movie initially presents Balakrishna as Nanaji, a driver. However, Nanaji’s real intentions are different.

His true mission is to protect the granddaughter of the tea estate. The family is under threat from MLA Trimurthulu Naidu (Ravi Kishan).

Nanaji quietly eliminates the gangs related to Trimurthulu Naidu. Things take a dramatic turn when Nanaji’s real identity comes out.

Balwant Singh Thakur (Bobby Deol) is informed of Daaku Maharaaj’s reappearance—the second half shifts to an origin story.

Before becoming a vigilante Balakrishna’s Sitharam was an upright civil engineer. Sitharam’s aim was to bring water to the withered area of Sonapur in Madhya Pradesh. This area is ruled by the demonic family of Thakurs.

Bobby Deol’s Balwant Singh Thakur is the youngest among the brothers. The rest of the story focuses on the transformation of Sitharam and his connection with the granddaughter of the tea estate.

A showreel for Balakrishna

Daaku Maharaaj is an action thriller
‘Daaku Maharaaj’ is an action erntertainer. (X)

It goes without saying that Daaku Maharaaj is mostly a showreel for Nandamuri Balakrishna. The actor’s screen presence coupled with his histrionics is what makes the movie watchable even when the plot enters into an utterly mundane zone.

The actor’s delivery of punch lines is definitely something that hardcore fans will enjoy. He does a very good job of portraying Sitharam’s transition from an honest civil servant wanting to solve the problems of Sonapur through government methods into a vigilante.

A scene which deserves a particular mention is a breakdown portion in the flashback involving the death of a girl. The quire in the voice coupled with the tremble as he talks about the horrific death brings out the actor in Balakrishna.

Both Shraddha Srinath and Pragya Jaiswal make their entry in the second half as the spouses of Bobby Deol and Balakrishna respectively.

Both of them make their presence amply felt particularly Shraddha Srinath as the honest collector who goes against her husband. An emotional sequence between Shraddha and Balakrishna before the death of her character is hugely poignant.

Bobby Deol as the thoroughly aristocratic Thakur with zero emotions makes for a suitably cruel villain. He gets the patriarchal nature of an upper caste bigot to perfection, his confrontation scenes with Balakrishna like the pre-climax sequence are deadly.

Flaws

A major problem with Daaku Maharaaj is its tried and tested formula of good versus evil. The movie comes with zero surprises for those who have grown up on commercial Telugu cinema. The beats of the story become very predictable.

The movie also suffers on account of too much fan worship. The fan service gets nauseating after a point giving little enjoyment for the neutral audiences.

Daaku Maharaaj also suffers from the mostly flat characterizations of the supporting cast. Able comic actors like Satya and VTV Ganesh are given very little to play with. The likes of Shine Tom Chacko as a wacky cop on the hunt of the Daaku start off promisingly but end up being majorly sidelined as the movie becomes a celebration of Balakrishna’s aura.

Technical aspects

Apart from Balakrishna’s performance, Vijay Kartik’s cinematography is also of a good standard, the Chambal portions of the second half showcase his prowess as a cinematographer.

Thaman S’s songs don’t help the movie much but his background score is pulsating, it perfectly complements the cinematography of Vijay Kartik in the Chambal portions.

Final take

To sum it up Daaku Maharaaj is strictly for the hard-core Balakrishna admirers, the ones who worship the actor and watch movies only for him.

(Views expressed here are personal, edited by Sumavarsha Kandula)

https://thesouthfirst.com/entertainment/telugu/daaku-maharaaj-movie-review/

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Game Changer : Ram Charan and SJ Suryah make this political tug of war worth watching

‘Game Changer’ is a welcome return to form for the celebrated director. The film isn’t vintage Shankar, still fares far better than the catastrophe of ‘Bharateeyudu 2’.

Game Changer (Telugu), 10-01-2025, Political, Drama, 2 hours 45 minutes, U/A, Theatre

  • Main Cast: Ram Charan, SJ Suryah, Srikanth, Kiara Advani, and Anjali
  • Director: S Shankar
  • Producer: Dil Raju
  • Music Director: Thaman S
  • Cinematography: Tirru
  • Rating: 3/5

Over the years Shankar has created a niche for himself as a director tackling issues of corruption and presenting social crusaders of different natures. Some of his protagonists take extreme measures like the extremely popular Gentleman (1993) and Anniyan (Aparichitudu) (2005).

On the other hand, you have Mudhalvan (1999), in which a television presenter becomes a chief minister. He ends up repairing the rotten system while staying within his powers.

Despite repeatedly tackling corruption themes in different forms, Shankar has enjoyed a huge fan base in not just Tamil but also Telugu. His Tamil dubbed movies have many admirers, in the recent past though the celebrated director has lost his mojo due to certain datedness, Bharateeyudu 2 (2024) being the best example.

The recent release Game Changer comes with a lot of pressure for Shankar, as there are doubts about his abilities to adapt to the present audience.

Synopsis

With Game Changer, Shankar proves that he has still got it, particularly the way in which he has designed the different shades of Ram Charan’s character and some solid moments between the protagonist and the antagonist.

He also discusses vote bank politics, in which poor people are given money to vote for a candidate belonging to a specific political party.

The storyline of Game Changer focuses on a generational fight of a father and son against societal injustices. SJ Suryah plays the chief antagonist Bobbli Mopidevi.

Bobbli has major aspirations of being a chief minister. To fulfil those dreams, Bobbli can go to any extent. Senior actor Srikanth also plays the grey-shaded character of Bobbli Satyamurthy. In the flashback portions, Bobbli is initially shown to be an admirer of Appanna, but things take a very drastic turn.

Strong aspects

Game Changer is a political drama
‘Game Changer’ is a political drama. (X)

As already mentioned a strong aspect of Game Changer is how Shankar has designed the dual roles of Ramcharan. The character of Ram Nandan on the one hand is high on swagger and Ram Charan pulls it off in a charismatic manner.

He brings in the required authority to command the screen, particularly in the confrontation scenes with SJ Suryah. As Appanna he brings in an emotional depth. Appana is a man who suffers from a serious stutter.

In spite of his inability to deliver powerful speeches, Appanna is driven by a single-minded goal of changing the corrupt political system. Ram Charan does a very good job of bringing out the various nuances.

SJ Suryah has emerged as a wonderful character artiste in the last few years and in this one too, the actor makes for an extremely formidable antagonist. SJ Suryah does a terrific job of portraying the obsession of Bobbli Mopidevi.

His trademark dialogue delivery coupled with the mannerisms is a delight to watch. Srikant in a grey-shaded role also deserves appreciation for his effective portrayal of a guilt-ridden man. The way he showcases the transition of Bobbli Satyamurthy from an admirer to a backstabber has been wonderfully written and enacted.

Among the two female leads Anjali as Appanna’s wife leaves a significant impact. Her role as Parvathy is an important emotional anchor and this has come out very well despite having less screen time. The mother and son scenes in the second half are another major asset.

Weak aspects

Ram Charan in Game Changer
Ram Charan in ‘Game Changer’. (X)

A major drawback of Game Changer is the insipid love story between Ram Charan and Kiara. All the sequences featuring the two have been weakly written.

Kiara doesn’t bring much to the table, other than looking beautiful and dancing energetically. Also, the portions featuring the likes of Priyadarshini and Satya among others are a major misfire. Despite their proven abilities, the comedic situations lack the required punch.

The climax is also too elongated with repetitive action sequences. The movie needed a much crisper edit in the closing portions. The cat-and-mouse game between Ram Charan and SJ Suryah though well-written gets repetitive.

Technical aspects

Thaman’s songs also enhance the narrative. On one hand, there is the upbeat “Jaragandi” and “Raa Macha Macha”. On the other hand, there is also the soulful “Arugu Meedha” picturised on Ram Charan and Anjali. Thaman has also delivered a thumping background score, particularly the portions elevating Ram Nandan.

Like most of Shankar’s movies, this too is visually grand. Cinematographer Tiru does a very fine in capturing the grand visuals through his lens. Sai Madhav Burra’s dialogues are also quite effective particularly the ones featuring Ram Charan and SJ Suryah.

The portions where Ram Nandan talks about the dangers of accepting money from a political party and subsequently voting for a particular person deserve a special mention.

Final take

Overall Game Changer is a passable political drama majorly enhanced by Ram Charan’s double role and S J Suryah’s antics. Don’t expect vintage Shankar and chances are you won’t be disappointed. For die-hard Ram Charan fans though the movie would be an absolute treat.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/game-changer-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/