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Acharya: This Time Koratala Siva Misses The Bus

Koratala Siva is a director who is known for taking social backdrops and giving them a commercial garnishing. It is a formula that paid rich diligence in films like Mirchi and Janata Garage. Here too you have the trademark Koratala Siva elements. There is naxalism and uranium mining among other aspects. The fights and the dances are also there but the missing link here is a solid base that binds the story together. The first half in particular is a big drag where nothing much happens. The second half is definitely far better but that is not enough to salvage the film.

The plot of Acharya revolves around a town with a mythical past. You have two settlements Dharmasthali and Paadaghattam. Both of them are surrounded by dense forests and a sparkling river. Mahesh Babu’s voice over at the start gives the audience an understanding of the town’s past. Now Dharmasthali has become Adharmasthali after Ramcharan’s Siddha disappeared from there.

ACHARYA HAS THE ELEMENTS BUT THE MIXING HAS GONE TERRIBLY WRONG. IT IS HIGH TIME THAT FILMMAKERS RETHINK ON WHAT THEY ARE MAKING IN THE NAME OF TWO HERO CINEMA.

Sonu Sood is once again the dreaded antagonist. But it is hard to imagine him as a villain particularly after the humanitarian work that he did during the first wave of COVID.

Jisshu Sengupta plays another forgettable part after last year’s Shyam Singha Roy.

Coming back to the story the people of Dharmasthali are waiting for a savior who will restore dharma. It is at this juncture that Chiranjeevi’s Acharya enters the town. The rest of the plot is about what the connection between Acharya and Siddha is, and how dharma is restored.

THE SCENES FEATURING THESE TWO ARE GOOD TO WATCH. THEY ARE IN PERFECT SYNC WITH EACH OTHER.

The lifeline of Acharya is without a doubt the back-story of Ramcharan and his connection with Acharya. The scenes featuring these two are good to watch. They are in perfect sync with each other, whether it is the stunt sequences or the dance number Bhale bhale Banjara. The song is no Natu Natu but still it is fun to watch them shaking a leg.
There are certain moments in the film where you can see Chiranjeevi’s eyes swell with pride. This happens particularly in the scenes where Ramcharan’s Siddha holds forth on what is right and wrong, and goes to any length to save someone of his ilk. Putrotsaaham.

As Siddha Ramcharan once again delivers a formidable performance, his growth from a boy in Gurukul to the eventual transformation is well etched. There is a scene towards the end of the flashback regarding Ramcharan’s character. It is a moment that will make you feel emotional.

As Acharya Chiranjeevi shows that he has still got it in him to play a leading man. The intensity and the screen presence are still very much there. His dance moves are also fluid.
The sets of Dharmastali are visually grand. The art work and the cinematography are a feast to the eyes.

THE BIGGEST MINUS OF ACHARYA IS THE LACKLUSTER FIRST HALF.

The biggest minus of Acharya is the lackluster first half. Nothing much happens after setting up the plot. Acharya’s interactions with the people are nothing great.

The characters of the town people on either side has been hardly explored by the director, they are used as props to elevate Chiranjeevi.

As a result it is difficult to feel any emotion for the suffering that they are undergoing. This is sad because you have a bunch of talented actors like Tanikella Bharani and Ajay but they are wasted.

POOJA HEDGE PLAYS AN EXTENDED VERSION OF WHAT ALIA BHATT DID IN RRR.

The love story between Ramcharan and Pooja Hegde is also done in a haphazard manner. The chemistry is good but you don’t root for the couple.

Pooja Hedge plays an extended version of what Alia Bhatt did in RRR. She is beautiful to look at but you will forget her character as soon as the movie is finished.

The villains are poorly etched; they are no match for the mega duo.

In a nutshell Acharya has the elements but the mixing has gone terribly wrong. It is high time that filmmakers rethink on what they are making in the name of two hero cinema.

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Jalsa: Shefali Shah Shines Bright In This Complex Human Drama

Suresh Triveni’s debut feature Tumhari Sulu was a film about a housewife who is full of life. It was a slice of life film that resonated with the audiences, particularly the middle aged women. Here the director switches gears and tells a story about moral ambiguities and class divide among other aspects. There is a lot that the director packs in, sometimes it feels too cluttered but still the film is largely watchable. A major reason for that is Shefali Shah’s presence. The actress is clearly having a blast in her second innings but more on that later.

Maya played by Vidya Balan is a strong willed, super popular journalist. This comes out strongly in the introduction scene of Maya . We see her grilling a powerful person, there is a holier than dow attitude. It is a character which is clearly influenced by Barka Dutt just like the many female journalists that we have seen on screen. Maya is someone who believes that truth should come out however things take a turn when she gets embroiled in an unfortunate accident. Shefali Shah plays the house help of Maya called Rukshana. Rukshana’s daughter is the girl who gets hit by the car and is severely injured.

What follows is a series of events that challenges nearly all the characters and pushes them to confront their dilemmas. Other important characters include Rohini Hattangadi who plays Vidya’s on screen mother. Revealing anything more wouldn’t be appropriate as there are many threads in the screenplay.

Suresh Triveni is successful in capturing the audience’s attention from the start, the sense of dread and foreboding is masterfully captured. As a result you are sucked into the story and want to know what will happen next.

An important aspect of Jalsa is the intricacies of human behavior when they are pushed over the edge. At many points Jalsa unfolds like an examination of human psychology.

The class divide between Rukshana and Maya has also been brought out well by the director. This divide can be seen in many scenes. For example there is a scene where Rukshana’s son comes to Maya’s house. He plays around with motion flush in the toilet; he is very amused by the number of toys that rich people can buy.

The scenes featuring Rohini Hattangadi are filled with certain warmth. It is a straight forward role but still the scenes work because of the effervescence that the senior actress brings in. The good thing about her character is that she gives it back to Vidya’s Maya. She doesn’t take things lying down when Maya has fits of anger.

Lastly the scenes featuring Surya Kashibhatla as the 10 year old boy with cerebral palsy are also very good to watch. The bond that he and Rukshana share comes out naturally. This is why the twist in Rukshana’s character during the pre-climax feels odd.

Coming to Shefali Shah it is great to see the actress doing such great work in her second innings. As Rukshana she uses her eyes to great effect. She does a splendid job in portraying the anger and the dismay. She doesn’t speak a lot in the film but it is her performance that you remember the most. It is difficult to say that this is the same actress who played the unapologetic villain in the web series Human.

The chief reason why Jalsa doesn’t become a great film is due to the inconsistent characterization of Vidya Balan. We are first introduced to her as someone who is absolutely fearless and can manage anything. However there is a serious shift in the tonality as we go along.

Yes a certain fear would be there at the start but you never see her feeling guilty about what she did. It is always about what will happen if the police find out. The character actions and the characterization don’t simply gell.

There is an attempt to show that she is feeling guilty towards the end but it never feels comprehensive. We see Maya confessing to a trainee journalist called Rohini, Rohini is seen taking a video of her confession but there is no guarantee that Maya will be punished for what she has done.

The climax is also underwhelming as Maya never apologizes to Rukshana. We just see Maya sitting on a bench with her. The portrayal of the journalists is also stereotypical in nature. It is something that we have seen in countless other films; honestly it is high time that the filmmakers think differently on how to portray journalists.

Because of the inconsistent characterization Vidya’s performance also suffers badly. Her emotional outbursts feel forced and don’t create the desired impact. Vidya is sincere but we have seen the actress do far better work in the past. This is a performance that she can do even in her sleep.

Another issue with Jalsa is the addition of too many subplots. You get the feeling that Suresh Triveni has bitten more than he can chew.

In a nutshell Jalsa is very much watchable but it needed a tighter screenplay.

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Year Roundup Of 2021 Movies

Firstly advanced New Year to everyone and also hoping that we will finally get rid of this COVID in 2022. Just like 2020 this year was also truncated for obvious reasons, adding to the second phase of COVID a new variant called Omicron has also started. As a result it is difficult to make a comprehensive list of the movies which have come this year. Within the choices that we had following are the movies that I have loved across Hindi and Telugu.

83 :

The significance of India winning the 1983 world cup goes beyond just the tournament. It was much more than that. It was about respect and being taken seriously by the cricket world. Not surprisingly the 1983 victory has more emotional significance than the 2011 win under the leadership of Mahendra Singh Dhoni. The reason for that is prior to 1983 India had lost horribly in the previous two world cups. They had not even made it to the playoffs. As a result no one had the confidence that India would even make it to the playoffs let alone winning it.

There were constant humiliations and adverse circumstances. But Kapil Dev firmly believed that India could win and his confidence transformed the entire team.

It is a huge responsibility as a filmmaker when you are bringing that incredible real life story on screen for today’s audiences. In spite of the never ending COVID Kabir Khan was sure that he would release the film in theaters only. When you see the film you understand why he took such a decision. The hard work that has gone into recreating that era is very evident in every frame. 83 is one of those big ticket entertainers that you wouldn’t mind watching any number of times. As a viewer you go through a roller coaster of emotions. The icing on the cake was the performances led by Ranveer Singh. It is truly an award winning act. Others like Saqib Saleem, Jatin Sarna, Tahir Raj Bhasin and Pankaj Tripati also chipped in with winsome performance. It is unfortunate that 83 won’t achieve its full potential due to Omicron.

Sardar Udham Singh :

Shoojit Sarcar’s Sardar Udham Singh is a far cry from the typical jingoism that we have been seeing in films of this genre. Shoojit Sarcar delivered a layered biopic which gives you a physiological insight into the mind of the freedom fighter. For those who are not aware Sardar Udham Singh is someone who is known for assassinating Micheal O’Dwyer in London. He did that in order to take revenge for the 1919 Jallianwala Bagh massacre in Amritsar.

One of the big strengths of the film was its writing. There were plenty of moments which would make you applaud the writers. Another refreshing aspect of Sardar Udham Singh was its non stereotypical portrayal of the British characters. As a result actors like Shaun Scoot also shined in their limited parts. Vicky Kaushal was simply terrific in the title role. He ably switched between being explosive and being restraint as per the demand of the script.

Shershaah :

Vishnu Vardhan’s biopic on Vikram Batra was a watchable film within the confines of a familiar war drama. For those who are not aware Vikram Batra was an officer of Indian army. He was posthumously awarded with Param Vira Chakra for his actions during the 1999 Kargil war.

The most interesting aspect of Shershaah was the equation that the onscreen Vikram Batra shares with the Kashmiri people during his first posting. We see him getting along with the locals with ease. It is also shown that the elders trust Vikram Batra more than the senior officers. Although it is highly debatable whether this really happened but nevertheless it makes for an engaging watch.

The action scenes were another major asset to the film along with Kamalijeet Negi’s cinematography. Lastly Siddarth Malhotra was in solid form, it was a performance that many didn’t see coming but Siddarth surprised one and all.

Pagglait and Ramprasad Ki Tehrvi :

There is more than one similarity between the stories of Pagglait and Ramprasad Ki Tehrvi. For example both stories are set in Lucknow and deal with the theme of widowhood. In Ramprasad Ki Tehrvi the death is of the head of the family, in Pagglait the death is of a man in his mid 20’s. The age of the female characters does vary but the theme is the same. Another similarity is the nature of the family members. We see the gossiping family members who have an eye on the dead man’s money. Since Paaglait came after the former it is possible that director Umesh Bist did take inspiration from Ramprasad Ki Tehrvi.

However keeping aside the similarities both are wonderful films that expose the society’s deep rooted patriarchy. They realistically portray the traits of dysfunctional families. Having said that Paaglait feels more complete as a film, performance wise both Supriya Pathak and Sanya Malhotra were brilliant in their respective films.

Sandeep Aur Pinky Faraar :

Dibakar Banerjee’s Sandeep Aur Pinly Faraar was judged pretty harshly by the social media upon its release. The reason for the negativity was more to do with people’s preconceived notions than the content itself. Agree that the last film that Parineeti Chopra and Arjun Kapoor did wasn’t anything great but still the social media negativity was uncalled for. Fortunately the film found its audience after its digital release on Amazon Prime. Dibakar Banerjee along with writer Varun Grover gave a masterful take on masculinity, greed and corruption, they took the format of a chase film and made sure that it was much more than that.

The story of Sandeep Aur Pinky Faraar revolved around a hotshot banker and a Harayana cop. The uniqueness of the story starts from the names of the protagonists itself. Parineeti Chopra plays Sandy aka Sandeep, Arjun Kapoor on the other hand is Pinky. Their paths cross one night and they are forced to flee because of certain circumstances.

Many of the male characters in this film are entitled, toxic etc. For example you have a timid bank manager in Pithoragrah, there is a scene where he tries to subjugate Sandy. Pinky is also someone who can be aggressive but he knows that she is smarter. There is also a tender side to him which comes out at the most unexpected time. There is also an elderly couple played by Raghubir Yadav and Neena Gupta. The character of Raghubir Yadav is someone who thinks that speaking in English automatically makes him superior.
After a series of disappointing performances Parineeti Chopra was back with a bang. She absolutely nailed the part. Arjun Kapoor has never been a great performer but Dibakar Banerjee managed to extract a good performance from him. He particularly shined in the pre-climax.

Love Story :

Sekhar Kamula went beyond his comfort zone with Love Story. He tackled a story which had serious undertones of caste and gender. It isn’t perfect by any means but Love Story still worked for a number of reasons. ‘

The biggest strength of Love Story was how Shekar Kamula developed the character of Revanth. There was lot of sensitivity and the director never resorted to unnecessary commercial elements to prop up the character. Revanth is someone who generally tries to avoid conflicts as much as possible. There is only scene towards the end where he decides that enough is enough however the action scene works because of the context behind it.

Additionally Naga Chaintanya also sprung up a pleasant surprise. He came out of his comfort zone and delivered a career defining act. He got the nuances of the character spot on starting with the dialect. Shekar Kamula was also fairly successful in showing the caste disparities. Sai Pallavi was good in her role of the upper caste Mounika but there are instances where she falls short. One big issue with the film was the serious hangover of Sairat and Highway. The director took caste from Sairat and child abuse from Highway.

Kondapolam :

This film was based on the novel of Sannpureddy Venkatarami Reddy by the same name. The novel was hugely successful and is considered to be a great read. Sannapureddy had addressed many significant topics through his book. For example you had the theme of need for coexistence between man and nature. It was also about the protagonist getting rid of his inner demons and facing life with confidence.

Director Krish retained the spirit of the novel and added his own touch as well. He removed certain unnecessary chapters from the book and made it crisper. The big change between the book and the movie is the insertion of Rakul Preet Singh’s Obulamma. It is the creation of the director but it doesn’t feel unnecessary or unwanted. In fact Rakul was a big revelation in her part; her role would be remembered for a long time just like Samantha’s one in Rangasthalam. Another big achievement of the film was how Krish set up the tale with the help of the technical department. Both the cinematography and the art direction shined big time. Vaishnav Tej as the protagonist Ravi was earnest and gave a sincere performance. He was able to do justice to the arc of Ravi. It was the second time after Uppena that Vaishnav Tej and Sai Chand acted as father and son, the comfort level between the two was very apparent.

Shyam Singha Roy :

Director Rahul Sankrityan took a familiar theme of reincarnation but he made it engaging for the audiences through his narration. There were certain flaws too but the film still worked for most part.

The story of Shyam Singha Roy is divided into two timelines. One is contemporary which features Nani as the aspiring director Vasu, the other one is that of Bengali activist and writer Shyam Singha Roy. Both these roles are played by Nani.

The heart of Shyam Singha Roy lied in the flashback episode of the second half. It touched upon many issues starting from untouchability and later going to the Devadasi system. The love story between Nani and the Devadasi women played by Sai Pallavi had plenty of heartwarming moments. The contemporary bits were also hugely enjoyable. The performances of all the actors were good but Nani deserves the highest marks for his seamless portrayal of the two characters.

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The Biggest Sin Of Pushpa The Rise

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

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

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

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

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

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

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

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

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

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

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

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

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

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Shyam Singha Roy: Watch It For The Performances And Aesthetics

There is a lot to admire about Rahul Sankrityan’s Shyam Singha Roy. The theme of reincarnation isn’t something new in films but what makes the difference here is the narration. That is not to say that the film is flawless. The second half could have been trimmed down; also the climax is a letdown. However for most part the director makes you invested.

The story begins off with the struggles of a debut director Vasu (Nani plays both Vasu and Shyam Singha Roy). Vasu has ambitions of becoming a film director; in order to achieve that goal he starts off with a short film. The story is set but the issue is that Vasu is not able to find the heroine for his short film. At this point he comes across a postgraduate student played by Krithi Shetty of Uppena fame. Kriti’s character Keerty has no interest in films whatsoever let alone acting, but Vasu is convinced that she is the one. After some effort he is able to convince her. From here you have some romance between the two. The romance isn’t particularly something new but the staging of these scenes have a certain freshness to it. In between Vasu has flashes of Shyam Singa Roy. During those times he goes into a trance. Once he goes into a trance while getting intimate with Keerty and calls her Rose. This leads to a split between the two.

THE HEART OF SHYAM SINGHA ROY LIES IN THE FLASHBACK EPISODE OF THE SECOND HALF. THE DIRECTOR DEALS WITH MULTIPLE ISSUES STARTING FROM UNTOUCHABILITY.

Coming back to the short film it becomes a success. A producer asks him to come with up a bound script with the assurance that he would provide all the resources that Vasu needs. The film becomes a massive success and Vasu is asked to make the same film in Hindi.
Things are going very well but it is here that the life of Vasu turns upside down. He is accused of a plagiarism by a leading publication house. Their accusation is that Vasu has directly copied the stories of Bengali activist and writer Shyam Singha Roy. Vasu denies that he has copied these stories and this leads to an intriguing court case where history and religion are linked.

The heart of Shyam Singha Roy lies in the flashback episode of the second half. The director deals with multiple issues starting from untouchability. Later it goes to the Devadasi system and how the Devadasi’s are abused. The director makes a powerful statement on how they shouldn’t be slaves to anyone not even god. Yes the role of Shyam does fall under the upper caste savior but it still works.

SAI PALLAVI IS TERRIFIC IN BOTH THE DANCES AND ALSO OTHERWISE. SHE CONVEYS SENSUOUSNESS AND VULNERABILITY AT THE SAME TIME THROUGH HER DANCES.

The romance between the Devadasi woman ( Sai Pallavi) and Nani gives plenty of heartwarming moments. Sai Pallavi is terrific in both the dances and also otherwise. She conveys sensuousness and vulnerability at the same time through her dances. Their romance is built up well and the director makes sure that you root for them.

Another key character here is of Rahul Ravindran who plays one of Shyam Singa Roy’s brothers Manoj Singa Roy. Nani and Rahul Ravindran don’t have many scenes but their scenes are filled with warmth. Rahul Ravindran gives a strong performance but he is particularly impressive in his old man avatar in the pre climax. Unfortunately the same cannot be said about Jishu Sengupta who plays the elder brother. It is a character which could have been played by anyone. It would have been best if Jishu had not played this role.

The contemporary bits in the first half are also hugely enjoyable. The comic scenes featuring Abhishek Gomatam and Nani raise lot of chuckles. The struggles of Vasu are something that many aspiring filmmakers would connect with. Kriti Shetty as Keerti has a very different role from Uppena and the actress makes her presence amply felt. What also makes the first half work is the role of Madonna Sebastain as lawyer Padmavati.

NOT SURPRISINGLY NANI IS SUPER EFFICIENT IN BOTH HIS ROLES. HE SHIFTS SEAMLESSLY BETWEEN THE BEWILDERED VASU AND THE DASHING SHYAM SINGA ROY.

Micky J Myer’s music is another strong pillar of Shyam Singa Roy. His compositions add a lot to the film. Malayalam cinematographer Sanu Varghese makes his Tollywood debut with this film. His cinematography deserves distinction marks. The way he captures the atmospherics in the second half is particularly commendable. Avinash Kolla’s art direction is also first rate.

Not surprisingly Nani is super efficient in both his roles. He shifts seamlessly between the bewildered Vasu and the dashing Shyam Singa Roy. His performance is a major reason why we buy into this recarnation drama.

Coming to the dampeners the big downer is the climax. It doesn’t make any sense to keep Sai Pallavi’s character alive. The director could have easily avoided that. It is not just melodramatic but plain unnecessary. It also doesn’t help that the prosthetic used are in no way convincing. Rahul Ravindran’s old man get up is far better than Sai Pallavi’s one.

Another problematic thing is how the director depicts the violent actions of Nani and Jishu Sengupta at different points in the film. There are two gory murders in the film but at no point we are told that they are punished leave alone a police case. Another problem is that we don’t see Shyam Singa Roy doing any activism post marriage. He does write books and also gives speeches but you don’t see much of on ground activism.

Irrespective of these flaws the film the movie is watchable and the director is promising.

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Kondapolam: Another Feather In Krish’s Filmography

Sannapureddy Venkatarami Reddy’s novel Konda Polam is a hugely acclaimed novel for many reasons. It addressed many significant topics, one of which is the need for coexistence between man and nature. It was also about the protagonist getting rid of his inner demons and facing life with confidence.

Director Krish retains the spirit of the novel and adds his own touch to it. At the same time he removes certain unnecessary chapters from the novel like the smuggling one. Krish’s touch can be seen in the way he builds up the love story between Vaishnav Tej’s Ravi and Rakul Preet Singh’s Obu. The character of Obulamma is a creation of the director but it never feels unnecessary or unwanted. Through the characters of both Rakul Preet Singh and Hema Krish gives a feministic touch.

THE BIGGEST ACHIEVEMENT OF KRISH IS HOW HE SETS UP THE TALE WITH THE HELP OF A FANTASTIC TECHNICAL TEAM.

The movie begins off with Ravi attending an interview at the UPSC board. His aim is to become a forest officer. Though he is fluent in English he requests Nassar along with the other officers to conduct the interview in Telugu, highlighting the right to speak in one’s own mother tongue. From there we move to a flashback that tells you about the journey of the protagonist from Nallamala forest to this current interview.

The biggest achievement of Krish is how he sets up the tale with the help of a fantastic technical team. Gnana Sekhar’s cinematography beautifully captures the locales. Although the film was shot in Vikarabad forests and Anantagiri, it has the authentic feel of Nallamala forests. They are a treat to watch. The art direction is another department that deserves full marks. Rajkumar Gibson creates an authentic milieu that has a lived in feel. You never feel any sense of artificiality.

ANOTHER THING THAT KRISH GETS RIGHT IS THE CHARACTER GROWTH OF RAVI.

Another thing that Krish gets right is the character growth of Ravi. Initially we see him in a perpetual state of fear whether it is in the boardroom or back home in village. He is jerky whenever he is asked why he hasn’t got a job yet. The transformative journey begins when he is sent by his grandfather to Konda Polam. If his biggest fear in forest is tiger, his biggest fear in life is not getting a job. Krish combines both these aspects and shows how Ravi overcomes both.

Rakul Preet Singh’s Obulamma is a character that will be remembered for a long time just like Samantha’s role in Rangasthalam. While Ravi might look more knowledgeable in the outside world, but it is Obulamma who is superior to him in terms of sheep rearing and the ways of the forest. She turns into a guru for Ravi and teaches him the ropes of the forest. The way the love story has been weaved into the bigger picture is very appreciable.

RAKUL PREET SINGH IS A REVELATION IN HER PART. SHE PORTRAYS THE DE-GLAM ROLE WITH ABSOLUTE CONVICTION.

Rakul Preet Singh is a revelation in her part. She portrays the de-glam role with absolute conviction.  Vaishnav Tej is earnest and delivers a sincere performance.

One of my other favorite characters is of Ravi Prakash. There is a brilliant monologue scene where he speaks to his wife over the phone and breaks down. It is a highly emotional scene that moves us to tears. Ravi Prakash is absolutely brilliant. Sai Chand also deserves appreciation for his wonderful acting. After Uppena it is the second time that Vaishnav Tej and Sai Chand are acting together as father and son and the comfort level shows. Kota Srinivasa Rao has a small role but the veteran actor is a delight to watch.

AFTER UPPENA IT IS THE SECOND TIME THAT VAISHNAV TEJ AND SAI CHAND ARE ACTING TOGETHER AS FATHER AND SON AND THE COMFORT LEVEL SHOWS.

The use of Rayalaseema dialect is also pretty impressive. The accent never comes across as odd. However there are certain heavy dialogues by some characters that seem strange given their background.

The songs and the background score by Keeravani is definitely a minus. Except for the Obulamma song nothing really works. Couple of romantic songs also act as speed breakers. The background score is too loud and it distracts you somewhat from the watching experience.

Watch Konda Polam for the authentic performances and the realistic background.

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Kuruthi: A Nerve Wracking Thriller

Before going into the film Kuruthi (burnt offering) it is necessary to applaud Prithviraj Sukumaran for producing a film of this sort. It is a brave film which talks about how our country is fast slipping into divisiveness. Apart from dealing with religious bigotry it also talks about a kind of humanism where communities help each other to survive.

The film starts with a shot of a goat which is about to be ritually sacrificed by a plantation worker Ibrahim played by Roshan Mathew, his young daughter who has grown fond of the goat implores her dad to not kill him. It is not clear whether Ibrahim ultimately kills the goat but nevertheless the scene gives us an idea into his character. We see that he has a sense of kindness and consideration.

The background story of Roshan Mathew’s character is that a terrible landslide killed his wife. He lives with his child along with an aged father and a younger brother. The Hindu neighbour Sumathi played by Srindaa cooks for them and takes care of the family. Sumathi is the only woman in the ensemble of men.

One night as Ibrahim and his family are waiting for Sumathi and the dinner there is a knock on the door. An inspector (Mural Gopi) barges in with a Hindu prisoner. The prisoner is accused of accidentally killing a Muslim in the chaos which followed the desecration of a temple. Later when things get tense Sumathi asks Ibrahim if he would stay quiet if a mosque was to be ravished.

What follows is a cat and mouse game when Liaq (Prithviraj Sukumaran) along with his friend try to get into the house and kill the prisoner. This is the synopsis.

One of the highlights of Kuruthi is the characterization of Roshan Mathew’s Ibrahim. He is someone who is torn between the religious fanaticism and a sense of humanism. The way the character has been built up and how he goes to his maximum level of saving the Hindu boy has been portrayed with lot of finesse. A scene which deserves a particular mention is the one between the character of Srinaada and the family in the context of the prisoner.

In this scene she gives an important message on peaceful co existence and it is something which feels very relevant particularly in today’s times.

Director Manu Warrier uses the set up of a home invasion thriller to talk about many issues. Apart from the already mentioned ones you have the growing fear of the majoritarian sentiment, alienation of minorities etc. To pack these many things is a difficult task and in the hands of a less skilled director it would have fallen flat, however thanks to Manu Warrier’s skilled direction the film never gets dreary and works perfectly as microcosm of our society.

The ultimate message is that the violence committed in the name of a god is a vicious cycle and is never going to stop until the individual takes one for the greater good of human civilization.

Besides the political aspect of the film Kuruthi also works as a nerve wracking thriller. The set of the home invasion has been well used and the director skillfully builds up the suspense. He is aided well by the cinematography and the overall technical department.

The performances of all the actors add more magic to this film. But the ones who stand out are Roshan Mathew, Prithviraj Sukumaran and Srinaada.

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Narappa: An Unnecessary Remake

Vetrimaran’s Asuran was a powerful take on the caste system and made you root for the central character’s quest of protecting his family. Narappa on the other hand is not just an unnecessary remake but also doesn’t work as a standalone film. Director Srikant Addala misses the target by miles. It would have been best if Asuran was dubbed in Telugu instead of being remaked.

The film would have probably worked more in theatres for those who couldn’t  see Asuran. But given that it has released on OTT where you have many other options there are very less chances of Narappa being liked.

The plotline of Narappa is the same as Asuran with no changes at all, just the actors change. Venketash replaces Dhanush as the father who has left his violent past behind and is now living a quiet life with his wife and three children. He is satisfied with farming a small part of land and has no major expectations from life. The only thing he wants to see is his eldest son Munikanna getting married. Munikanna is a hot headed youngster who feels that his father is a coward and isn’t happy with the passive attitude of his father. Since Munikanna is  more aggressive he often gets into fights with an upper class family. During one of these conflicts the situation takes an ugly turn and Narappa and his family are forced to run away. While he is on the run Narappa is pushed to revisit his past which he had left many years ago. This is the basic plot for those who haven’t seen Asuran.

The most glaring thing about Narappa is the shifting of the story to Rayalaseema region. By placing the story in that particular region Srikant Addala adds to the streyotypes that have been associated with that place thanks to dozens of Telugu movies.

Narappa could have been easily placed somewhere else too but the director could only think of Rayalaseema of all the places.

It also doesn’t help that the accents of almost all the actors are inconsistent. Only Rao Ramesh gets the slang right, his scenes are the only ones which make some sort of impression even though they are copy pasted.

Coming to the obvious comparisions Venketash is no Dhanush and the reasons for that are very clear from the first frame. Venketash tries his level best but the performance comes across as laboured. He is no way able to bring the rustic presence of Dhanush. It is not just about histrionics but it is also about the physicality. Dhanush physicality also worked well for the original but here Venketesh’s one comes across as a misfit.

To make matters worse the flashback portions are not even half as impactful as Asuran.  The flashback portions in Asuran were important as it made you understand the reasons behind the lead character’s quietness and why he is the way he is. However here it comes across as not so natural. Venketesh is made to look younger in these scenes but it is hard for the audience to buy it.

GV Prakash’s music was a key element in Asuran but here the songs don’t add much to the plot. The background score is impactful but again it is not something new for those who have seen Asuran.

Technically the film is all right as Shyam K Naidu is able to capture the rusticness of the place and the surroundings.

Narappa just like Asuran gives a message which is very important for the society regarding how education can help you in overcoming the caste barrier. Wonder why they could not take an original story from Andhra Telangana regions.

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Gangubai Kathiawadi: A Solid Spectacle With A Beating Heart

Over the years Sanjay Leela Bhansali has become synonymous with telling stories on a larger than life canvas. His last three films Ram Leela, Bajirao Mastani and Padmavat are good examples of that. This larger than life canvas has also backfired in films like Ranbir Kapoor’s Saawariya but there is no denying the artisticness of Bhansali irrespective of whether you agree with his storytelling or not.

In Gangubai the director takes up a gritty real life story and narrates it with his trademark dramatic touch. The result is a largely satisfying film which touches upon a very important topic. He is also aided by the supremely talented cast led by his formidable leading lady. Alia Bhatt sinks her teeth into the role and comes up with the best performance of her career but more on that later.

The story of Gangubai is set in the 60’s and is inspired by a chapter from S Hussain Zaidi’s book Mafia Queens of Mumbai. With the help of the cinematographer Sudeep Chatterjee Bhansali immediately transports you into the area of Kamatipura. The plot is divided into three chapters. First you have Ganga being brought into the streets of Kamathipura and sold by her lover Ramnik. Ganga had aspirations of becoming a Bollywood heroine and Ramnik used that to his advantage and coaxed her to run away from home under false pretences. Seema Pahwa plays the brothel owner Sheela Masi. It is good to see the actress taking a break from her usual mother roles and doing something different, she is delightfully evil.

Much like the other four thousand woman of Kamatipura Ganga has no other option other than to make a living there. She gives up all hope and in a heartbreaking scene we see her standing in the front of a brothel, leaning on its door and seducing men by calling out to them in whispers. From here we see the character transforming into a fire brand go getter who gradually climbs up the ladder. She wears her past proudly on her sleeve, for example there is a scene in the later half where she introduces herself to Jim Sarbh’s character as Gangubai the prostitute. The interactions of Gangu with the supporting characters and how that shapes up her life also form an important part of the story. One of the most important supporting characters is that of Ajay Devgan’s Rahim Lala. He is a Muslim gangster who is a huge pillar of support for Gangu along with being her rakhi brother. Ajay is in smashing form and brings his trademark swagger.

There is a line in a film which says Gangubai wasn’t Mahaan but she wasn’t a devil either. This perfectly sums up the approach that Sanjay Leela Bhansali has taken. Early on in the film we see Gangubai freeing a girl from a prostitute house and sending her back home. This is done with a certain political purpose as we get to know later. There is also a scene where she sets up the marriage of a prostitute daughter with a son of a Muslim Tailor Afshan ( Shantanu Maheshwari); here also there is a reason why she does that. In these scenes we can see the shrewdness that Gangubai has learnt from the harsh circumstances that she has gone through. At the same time there is a genuine empathy that she has for sex workers, there is a reason why she wants to become to become the madam of Kamathipura. The reason is she wants to improve the lives of the sex workers. This comes out perfectly in her stunning speech at Azad Maidaan. Bhansali does a splendid job in bringing out these two shades.

Gangubai’s love story with Afshan also gives the film some of its best moments. Their romance is subtle but yet heartwarming. The two love songs Jab Saiyaan and Meri Jaan have been perfectly used by the director. They don’t come across as speed breakers. Out of the two my favorite one is Meri Jaan. You wish that Gangubai had a happy ending with Afshan.

Another track worth mentioning here is the friendship between Gangubai and Kamili played by Indira Tiwari. Their on screen bond is a treat to watch. There is a strong emotional scene between Gangubai and Kamili when the latter is on the verge of dying. It is a scene which is highly moving.

The scenes between Ajay Devgan and Alia are also good to watch but you wish there was little more of Ajay. The same goes to Vijay Raazi’s Rajyabhai. He plays an opponent to Gangu. Their rivalry is fun to watch but Vijay Raaz comes across as underutilized after a point.

As I earlier said Alia sinks her teeth into the role. Since the release of the teaser there has been a certain talk about alternate casting but once you see the film you realize why Sanjay Leela Bhansali stuck to her.

The best thing about Alia’s performance is the authority that she brings in her voice when the character makes the transition from being a helpless prostitute worker to the madam of Kamathipura. Her comic timing in the lighter bits is also too good. In short this is truly an award winning performance. Out of the supporting cast Indira Tiwari and Shantnu stand out the most.

The music of Gangubai mostly works but the one featuring Huma Qureshi could have been done away with. The song Dholida isn’t too high on lyrics but it still highly watchable thanks to Energetic performance of Alia. The second part of the song makes more of an impression.

The one area where the movie falters is its pre-climax and climax, Gangubai’s conversation with Jawaharlal Nehru could have been more impactful, in the sense she should have been talking to him with more humility. Also the climax where a swarm of people are cheering Gangubai stretches a little too much.

Watch Gangubai for its leading lady and the importance of its real life story.