Familiar and yet charming-Soggade Chinni Nayana


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Soggade Chinni Nayana is a film whose sensibilities you can unabashedly call Indian at heart. You see the smell of the humour, a delicious regional spin to it, supernatural elements surrounding temples, souls, handpicked from many tales we all grew up hearing and witnessing; the mix expectedly strikes an instant chord. And to top it, this package is firmly lead by an actor, Nagarjuna, who’s increasingly getting less-conscious of his presence and yet surer of his choices. That’s why, you see the humour, action, subtle horror blending like wildfire. All the lush green farms, the motu sarasam, the banana leaves in this rural backdrop greet you to a meal that you’re not yet ready to outgrow.

There’s a lot of ANR-inspiration that the lead actor has quoted recently for this role of Bangarraju, but his self-made panache does the trick here. You don’t find sequences where he’s trying to play beyond his belt, knowing where to go overboard, act coyish, and coming to his own to connect the emotional strings. He invariably plays true to his on-screen casanova image, his flirtatious doings with multiple actresses bearing naughtiness every now and then ensure a heartfelt grin.

On the making front, the film reiterates how strong storytelling more often than not makes up for an okayish story. Here, if you need a one-liner, it’s about a man’s soul making an earthly return to solve an issue. There comes the supernatural side of it, a socio fantasy turn, a yama, a hell-like setting, a muhurtam of a sivaratri, the film is well aware of its limits and the crowd it wants to target. There are parts you would call tentatively slow, old fashioned. But, contemporary relevance is never what debutant maker Kalyan Krishna’s aims at.The film’s twists are still preserved for the right places, some for the first hour, the intermission and the last hour too. However, Soggade relies more on the beauty of the little moments, especially in the Ramyakrishna-Nagarjuna thread, where the romance is pure, organic and chirpy.

The aftertaste of the film lies in your apetite to tolerate the toast it gives to Nagarjuna’s ‘oh-I-am-a-dream-boy’ image. Well, he is deserving of it, but the makers keep pushing it more and more. He makes the girls do a cat walk, works out a mehndi design for them and has a baggage of one-liners to make them fall for him. It’s nice to see the confidence with which a 54-year-old enacts these parts.

That’s where too, the film gets into a shell of its own, only to thankfully emerge out of it later. You’d have wished for the film to end better for all the efforts put in. Although the male lead seems to be walking away with the honours at the end of the day, Soggade shows our need to celebrate Ramyakrishna’s presence more, be it for the every ounce of glamour she showcases or that bit of intensity and sincerity in the climax. Lavanya Tripathi definitely looks more assured after Bhale Bhale, the other girls Hamsa Nandini and Anasuya too add up to the feminine charm of the movie. Brahmanandam’s part comes with a reason, but the lead actors do the humour bit better. It suddenly feels fresh to see a full-on village drama with sparkling dialogues, peppy music, bullock-carts and the rangolis. This festive trip is a timely shift from the urbane.

Rating: ***.5

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Just there, almost- Dohchay Review


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The actual test for a successful first-time director happens to be his second attempt. While they preserve their best inputs for the first, the next one has them close to developing a craft in their methods. This is where you try to see if they’re beyond a one-time wonder.

Sudheer Verma, the director of Dohchay, you are tempted to utter, is in a hangover with Swamy Ra Ra, but there’s none denying his ability to fine tune his style with content. It’s a crime comedy again in quest for a larger scale, with the budget and the actor at least. This combination with the content isn’t the best, but, you get a decent bargain.

There’s a wave of tributes as you tread past this. You occasionally hear a Kill-Bill themed ringtone. The film takes off with a Siva reference in a robber’s apartment. The RGV-worship gets more sincere in a matter of time. A mini rewind to Paresh Rawal in Kshana Kshanam strikes.

The lead actor’s birthday is up and a Swati Mutyapu Jhallulalo plays on a radio set. More than the cardboard-like plot in place, Dohchay is more interesting with many more little stretches such as these.

And to top it all, a Brahmanandam is on board for a saviour act. The Kill Bill Pandey in Race Gurram then becomes Tempting Star here. He’s aided by Saptagiri soon. They’re the ones bringing the formulaic touches.

Naga Chaitanya showcases more command over his demeanours than the inconsistent Oka Laila Kosam days. As you expect, the difference is a director, who’s more in control of his purpose. The narrative besides the occasional sparkles apart has a fluffy, cozy exterior.

Kriti Sanon, unlike her rather subtle beginnings, is a talkative do-nothing. She looks a fashion designer’s dream in terms of appearance and well, about the performance, you really know better. The industry, meanwhile, is heading towards an interesting phase of anti-stereotyping. The girl is the one to lit up a cigarette and it’s her man doing the chiding.

The reason that, you can consider Dohchay above a rather decent Bandipotu, is the consistent madness that the latter sorely missed. On the other front, isn’t it more comfortable seeing Chaitanya out-smarting the baddies than say, a more friendly appearing Allari Naresh? The music is trendier and the technique nearly helps accomplish the maker’s modest aims.

If the first hour is for the mortals chasing technique, filmmaking nostalgia, the other is for the ones high-five’ing at staple diets. The director’s show reel is the former and the latter is dedicated to the star, Naga Chaitanya. The viewer gets a good mix of both. If it’s a magnum-opus that you expect though, you’re at the wrong screen. Sudheer Verma, more of the auteur, has arrived into the scene.

A great son, A mediocre film- S/O Satyamurthy Review


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How do we look at Trivikram? A director who predominantly writes well or someone, who gradually is losing track of his true identity ? Prompted by Attarintiki Daredi’s success, Son Of Satyamurthy attempts to give the broken-family-ties template, a newer spin,a commercial toasting and not totally compromising on its star-vehicle aspirations either.

It’s a predictable result we have, celebrating its often epic-driven dialogue over the plot, the kind of lines coming from well-read, super-smart characters in films. Partly entertaining, partly purposeful, mostly straying, it’s best viewed as a better Allu Arjun-film than a weaker Trivikram-work.

With the title sounding enough like the Suriya-Gautham Menon film, Surya S/O Krishnan, the father of a protagonist too is a realtime hero here, whom the son totally respects and idolises. But unlike the former, this is no nostalgic tribute.

Given the fact it tries to please a larger league, Son Of Satyamurthy is more an idea of sustaining his legacies. In fact, we don’t mind connecting the doting figure to a Ramayya in an Yevade Subramanyam, the large-hearted owner of a firm, run more by humanly values despite debts regularly giving an evil glimpse.

Even if it’s a heartfelt premise that it rides on, the film lacks any direction. One moment, it’s the Brahmanandam slap-fest and the digs at Rajendra Prasad, the next, we see some muscles being flexed and in quick time, we are to supposedly warm up to the longing of Viraj Anand for his family.

The Tamil-speaking areas, that we’re shown gets it closer to the Chennai Express-scheme of things. Sathyaraj, the father is replaced by Upendra, the brother in his traditional dhoti with obvious violent strides in the part. The Super-Machi number comes just when we expect it to, alongside the baggage of tracks that Devi Sri Prasad would have composed when he was half-awake.

The dejavu of an Arjun fitting into the shoes of a Pawan Kalyan strikes consistently. Some retracting towards Attarintiki Daredi, he lets a girl elope. CHECK. He saves a family from disrepute. CHECK. He goes to an alien town to fight a bunch of goons. CHECK. The grandfather then is the father now. The patterns are all what we apparently have. May be, with a maker or a writer with lesser credentials, these references would have passed without much cribbing.

Occasionally, the better sides of the film have us looking at women in a nicer light. The female lead is a diabetic patient and the guy makes little fuss about it. An evil-Devaraj desperately denies to showcase his animalistic darker shades to his better-half, probably, the most appropriately cast Sneha .

All the drama has a near supernatural end. The Satan is perished with the help of nature. The stocks of Viraj are at an all-time high. He gets his girl with complete approval. There are handshakes, lengthy lines and the expected sorry’s. It rains and the son looks at the skies. And, Satyamurthy, what a son you have. But Trivikram, what film do we have ?

Ramblings of the past : Manam Review


manam-3Manam, a rarity you witness in films that has bigwigs, sticks to its tale and has the guts to travel beyond its cast-adoring formalities. It respects the story as much as the smaller details that you often tend to miss in such films, as minute as the hair style to the clothe-designs to the age-old car models. Most of them are designed to be messengers of destiny and they being a representation of the circle-of-life is targeted at that. As much as it is embedded with the reincarnation motif, the director has a taste for recreating the atmosphere to bring that very necessary supernatural connect and in fact underplaying the same.

There are occasional touches of slapstick comedy where Posani, Ali and Brahmanandam do their bits well. But, for every such aberration to the purist ambitions of Vikram Kumar, there is enough subtlety in the characterisations and the relationship sketches of the lead actors. The initial awkwardness where they don’t realise the connect beyond the times is artfully used to weave humour where the lines are coventionally happy-go-lucky in nature and the hidden undertones lying within them are only elaborated later.

The focus is on building a connect and is generally in tandem with the light-hearted tone that it sustains consistently. Manam never lets the philosophical references diminish its intentions of being an entertainer or a soul-warmer. That’s the biggest achievement in the sense of it never being over-serious about its theme and is instead satisfied in letting the characters drive the narrative sans possible melodrama.

The name-play with the three characters of Nagarjuna, ANR and Naga Chaithanya as comical as they sound help us enjoy their chemistry even more. Samantha’s screen-time for a film that might have gone gaga about its male characters is one of the biggest strengths of the film too. She plays the doll-like foolish girl that most of the contemporary filmmakers restrict her to but the spontaneous depth on display from the actress lends her part an adorable touch.

Shriya’s portions are strictly basic and just when you crave for more of her appearance after the flashback, she is unbelievably sidelined. The film since then is in a hurry to end on a high. The eye for details is suddenly lost and the happy ending tag gets the bulk of the attention. Building a near-perfect foundation with the first half, the focus drops in the latter. The positivity is retained but there’s a sense of incompletion.

However, the maker doesn’t stumble in switching between the times. As it is mostly a semi-periodical, Vikram Kumar only paints the 1920s and the 80s with a few basic elements and leaves it at that. He also doesn’t spoon-feed you with all the essences and is in no mood to give it a classical topping either. The character-sketches are extremely likeable. Be it Nagarjuna’s weakness for cars or Chaitanya’s for a bottle of beer, they are only in place to establish crucial links.

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The magic in the moment where Nagarjuna and Shriya see each other in a marriage is an example of how the little things can genuinely elevate a film. Manam has aplenty of that. The wholesome, developed and nurtured core extracts a wonderful act from Naga Chaitanya, who is probably the film’s biggest find as an actor apart from Nagarjuna’s bankable performance, even if you can’t blame yourself for being surprised with the presence of Akhil in the last frame.

Anoop Rubens compositions are very much in-tune with the film’s soul too. ANR’s swansong is a humble and an unadulterated tribute in times where stories are only manufactured and aren’t felt. Go watch this, the Akkinenis have packed their lunch well with enough variety and lots of love.