is often defined as a precursor to a cliché. A youthful
movie becomes successful and the market is flooded with clones
and drones; a vengeful movie strikes some chord with the audience
and it is treated to different variations of the same blood and
gore. Stranger it may seem, because not too many good movies find
followers lining up in their paths. A "Siva"
was followed by thousands of its minions (pramadha gaNaalu would
be a better term), but a "Kshana Kshanam" had
no takers. A "Nuvve
Kaavaali" opened the floodgates to hundreds of unwanted
adaptations, but a "Chirunnavuto"
walked alone. Going by this simple sampling, one can fairly predict
how "trends" would treat this new innovative movie named
than the guts factor, which is required in sizable proportions,
to embark upon a movie making adventure such as this, it is the
audacity of the maker (Neelakantha) to believe in himself, and
attempt at convincing the audience, that it does not need a few
hundreds lakhs, a few foreign locales and hordes of characters,
to get a point across. Well rounded characters, even without enough
motivations behind their actions, but possessing a simple ability
of remaining true to their characters without trying too hard
to grab the attention of the audience and engross them, are some
of the stand out points of these so-called "good movies".
so in cases where the focus of attention shines on only on a handful
characters, the terms sincerity, wit and innovation come into
play at every twist and turn. When there aren't too many distractions
bothering the audience with their smoke and mirrors act, every
word that the character utters comes under the mental microscope
and every step that the script takes comes into serious relief.
Braving this minefield of a playfield, the maker (incidentally,
the script writer too) made sure that the subject matter wasn't
too abstract for the audience to understand, or too intricate
for them to follow. This bravura performance, fittingly rewarded
at the national level, deserves a sound round of applause, for
its lucidity in flow and elegance in execution.
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the entire movie is to revolve around two characters, and the
setting is in and around a house, the cameraman has to think really
hard to frame his shots to avoid repetition and bring out a sense
that involves the audience in the proceedings. It is really easy
to go overboard on such occasions and overdo the job, making the
piece a little too self-conscious, while making the audience appreciating
the craft and overlooking the material. Ravi Yadav, the photographer,
who walks this thin line between creativity and exuberance, deserves
kudos almost on par with the writer-director, for the unique number
of ways he composed the different sequences in the movie. If at
no point does the movie feel like a ultra low budget movie shot
on a 35mm film, it is because of the inventive camera work that
went beyond the call of duty of picturising the action of the
movie, to the point of depicting the characters in a different
angle, literally. Ravi Yadav certainly joined the ranks of a Govind
Nihlani or a Ashok Mehta or a Balu Mahendra, for his fantastic
work on Show.
obscure category deserves some serious mention here. Sound mixing,
that became a vital part of the movie, in the final act of the
movie, was done with utmost attention to the detail elevating
the mood of the characters and more importanly the tempo and the
drama. The clarity of the sound and the ability to distinguish
between the voices (with special mention to the voice that dubbed
the lead character's wife's voice), which becomes a important
part in shifting the gears, would not had been possible, but for
the sharp ear of the mixer.
- the one, who really infused life into the words and thus into
the movie, with a tour-de-force performance, should become a serious
contender to best actor Nandi, along with Prakash Raj (for Nuvve
Nuvve). The way he relegated the female character (in a good
way) to becoming just a wall to bounce emotions off, Surya, through
his body language (going a little overboard at times, as dictated
by the script), and emerged the sole winner from among the ones
facing the lens, is a treat to watch and appreciate. One would
seriously hope that this movie serves him as a springboard for
better roles and even better Performances.
Lastly, if the movie pitch goes something on the lines of - "two
characters try to kill some time engaging each other doing nothing
but TALKING during a 5 hour period, holed up in a house, by staging
a mock play which is in a reflective of the lead character's life"
- the producer should either be completely ignorant or supremely
confident about the abilities of the maker on pulling off, a risky
proposition as this and Manjula proves that she belongs to the
latter category. In the celluloid world, filled with dreamy characters
occupying perfect worlds, where their only concerns revolve around
expressing their love and winning over hearts, here is one that
dares to be different that wins over the minds, for a change.
We are ready with the three cheers, say when!
Ramblings on Telugu films
Srinivas Kanchibhotla how you liked the article.