Observation/Rant #003

The Era of Godfathers

It’s interesting how gangsters and mafias have taken over significant portions of the film industry.

Ten years ago that comment would have meant something different: gangsters were financing films in a big way back then. That has changed, partially thanks to the official classification of the Bombay film industry as an industry, which makes film financing through regular means easier.

What I mean here is gangster films: movies that have Bombay-style mafias and gangsters as a central plot element. I don’t quite know which movie started the trend: early ones include Parinda, Satya and Company. I think of Satya as the one that started the trend, though Parinda was an earlier film. The trend migrated from Bombay to the Telugu film industry. At least, I think that’s the direction it went although Ram Gopal Varma – director of Satya – started off in Hyderabad.

I view this genre as separate from other movies which feature outlaws in central roles, such as Robin Hood-themed films. The gangster genre usually has a remarkably uniform depiction of gangster organizations. There’s an all-powerful ganglord surrounded by subservient subordinates at various layered levels. There are a few trusted lieutenants, some people below them, and the rank and file. Some films within this genre depict the gangsters as fundamentally honourable people, others depict them as lacking any sense of ethics, so perhaps you could divide it into sub-genres.

What’s amazing is the number of films featuring such organizational setups, both in Bombay and Hyderabad.

Okkadunnadu

Or, another one bites the dust.

Chandra Sekhar Yeleti was, to me, the Golden Boy of Telugu cinema. Along with Sekhar Kammula, he looked like one of the few who bring a semblance of sanity to Telugu movies, with good plotting and realistic direction. Aithe was a great story, and although it had flaws (I didn’t think it was polished enough and hated the poorly spoken Telugu, and the acting was lacklustre), I thought it pointed to good things ahead. Then I saw Anukokunda Oka Roju, and I was sold on Yeleti. That movie was so perfect I could hardly find a flaw with it.

So it was that I looked forward to watching Okkadunnadu with a great deal of interest. I was hoping for something that was an improvement on Aithe, or even (though unlikely) on Anukokunda Oka Roju. When the movie first started, I thought I’d hit the mother lode. The first 30 minutes or so are excellent, with a tightly told explanation of the story’s basic premises and central problem. Having set me up with expectations of a blissful couple of hours, Yeleti then proceeded to demolish all of my hopes.

The first signs of trouble started with the Matrix-inspired wire-fu sequences when Kiran (Gopichand’s character) escapes from the hospital. Soon, he was single-handedly wiping a hospital drug-storage godown with 40+ goons. (When he hits a goon, the goon flies and lands a minimum of 20 feet away.) That could’ve stopped there, and the movie might still have been good – but that was not to be. Kiran solves all the problems he faces in this movie in this most direct fashion – by wire-fu-ing unbelievable hordes of thugs. There’s nothing else to the movie. The rest of the story is this: Kiran single-handedly bashes up Bombay’s most notorious don’s entire gang. He does so without any guile, either; simply walks into their midst and beats them all to a pulp.

What’s so sad about all of this is that Yeleti obviously has the ability to direct great movies. Perhaps it was the lukewarm box-office performance of his earlier films that prompted him to turn this potentially good movie into a no-holds-barred masala hotchpotch. It’s really too bad.

In short: stop watching this movie after the first 30 minutes. You’ll be left burning with curiosity, but perhaps unslaked curiosity is better than what you’ll see if you keep watching!

Observation/Rant #002

The Age of Strained Accents

I don’t think anybody can have missed it, but most of the top lead actresses in the Telugu film industry aren’t Telugu any more. Shriya, Kamalini, Genelia, Ileana, Charmy, Kajal, Tabu (who could be an exception since she’s from Hyderabad), Sonali Bendre, Trisha – they’re from everywhere but Andhra. A few lead actors (Siddharth Narayan for example) are from out-of-state but most are Telugu.

Now there’s absolutely nothing wrong with non-Telugu people acting in the Telugu industry. If out-of-state actors have talent they are bound to be an asset to the industry, raising acting standards and contributing in various other professional and cultural ways. And I think that the current crop of actors and actresses have really contributed in a big way. If anything, I think there should be even more out-of-state actors in the Telugu industry. But one thing that does happen is we get to hear Telugu spoken with really odd accents. Voices are dubbed in many cases, but not always – and then we get to hear some annoyingly tamasha Telugu.

Now I love local Telugu accents and dialects as much as any one – they’re interesting and keep things real. But these aren’t local accents; they’re just poorly spoken Telugu that happens when Telugu is written in Devanagari or Tamil or whatever and the actors try to read it without any experience with the language. And there just doesn’t seem any sign that directors care; even Sekhar Kammula’s films have some really weird diction. I still have hopes for Chandra Sekhar Yeleti (of Anukokunda Oka Roju fame); if he keeps making movies with the kind of attention to detail we see in that movie, he’d probably take care to avoid bad accents.

Observation/Rant #001

The Land of the Moustachioed Men

Watching Telugu movies, one comes to the incongruous conclusion that Telugu men are quite fond of their moustaches. Just as Japan is the Land of the Rising Sun and the USA is the Land of the Free, I think Andhra Pradesh deserves its own epithet. Join me in applauding the Land of the Mustachioed Men.

A conversation with the typical Telugu male confirms the hypothesis that moustaches are dear to the male Telugu heart. “Are you not a man?” I’ve heard some ask. “Moustaches are the mark of men.” You’ve got to applaud the few male Telugu actors who dare to appear without one. Most of them compensate by sporting an unkempt 2-3 day stubble at several points in the movie, presumably to convince the Telugu viewer that they are indeed worthy of respect as a fellow man.

Telugu Cinema: Variety Entertainment

Pursuant to my rant about maturity in Telugu films, I’ve come to a realization about the Telugu film industry. Calling most Telugu movies a “Film” or the industry “Cinema” is not consistent with the way the term is normally used in other film industries.

Usually a film refers to a coherent piece of work, an invention that is internally uniform and distinguishable from other pieces of work in its ethos, not just because it is on the same physical tape or disc. The story, plot, screenplay, cinematography, or a combination of these and other elements serve to give it a distinct character. You can’t take a piece of one film and put it into a different film and have it make sense in the new context.

Movies in the Hindi and Telugu film industries often aim at a different ideal. When people from abroad stare in amazement at Indian cinema and wonder why there is a song-and-dance sequence all of a sudden, what they are missing is this: an Indian film is essentially variety entertainment. This kind of entertainment has been popular traditionally in India for centuries; a troupe of entertainers traveling from town to town putting on stage shows, with music, dance, acrobatics, a bit of drama, clowns and buffoonery, all thrown in.

The Indian movie is often a simple migration of this centuries-old motif to a different medium. The plot or story, if anything, only serves to hold the audience’s interest and to give the movie a natural ending. The main offering is the song-and-dance routines, the music, the fights. Indeed, many Telugu movies are reviewed this way: not holistically, but as separate departments: songs, fights, comedy, dialogues, photography. A review might read: “Dialogues in this film are very good. First half has non-stop comedy. Fights by Peter Hynes are excellent. Photography is terrific. Dancing by hero and heroine is very well choreographed. The hero’s style is terrific, he lives up to his image of Prince Charming with his mesmerizing looks (sic). The heroine is in her element with traditional costumes and cute mannerisms.” And so on. “She is sensuality personified,” says one review about the lead actress in a movie. “Her wardrobe in this film includes dresses ranging from traditional sarees to mini skirts.” Hmm.

Telugu Movies to Avoid

I’ve come to the conclusion that it is as important to document bad movies as good. I often forget that I’ve watched a movie before, or forget what my reaction to a particular movie was. This post will help keep things organized. It will have Telugu movies which I would rate 1 or 2 stars (out of 5). 1 star means I hated this film and it was an effort to sit through it; 2 stars means I could sit through it but disliked it. I guess I’ll keep adding films as I come across them.

Of course, these are to be contrasted to my post on good Telugu movies.

I recognize that many of these movies will be very popular ones. Nevertheless, these are poor movies. Hackneyed, shark-jumping plotting (or a total lack or a plot), cringe-inducing humour and dialogue, and lead actors who take their own shenanigans too seriously are the main problems with most of these movies.

These star ratings are not on the same scale as the ratings on the “movies to watch” page. The worst movie on that page is better than any of these.

1. Classmates. (2 stars)
2. Athadu. (2 stars)
3. Boys. (2 stars) Starts off interesting (albeit crude), about adolescent boys, but turns into a hackneyed love story after a bit.
4. Stalin. (1 star) Way too Rajnikant-ish for my taste.
5. Jalsa. (2 stars)
6. Nuvve Nuvve. (2 stars) The girl liked the guy because he sprayed cheap perfume on her. It also subscribes to a common Indian movie mantra: to impress the girl, treat her real badly. ‘Nuff said.
7. Pokiri. (2 stars) Full of bloody, senseless violence.
8. Okkadunnadu. (2 stars) I really wish I could’ve put this in the “movies to watch” list, it had great promise. See brief review.
9. Nuvvostanante Nenoddantana. (2 stars) Incoherent film with trumped-up situations, bad over the top acting and a ridiculous plot.  Horrible.  But this movie was a huge success — my tastes don’t match most Telugu audiences’.

More as I watch.

Telugu Movie Reviews

Here are sites that do Telugu movie reviews:

1. http://www.idlebrain.com/movie/archive/

   The reviews aren’t very uniform, not always informative, and I disagree with many of them. But the site seems comprehensive for recent movies.

2. http://www.cinegoer.com/reviews/The reviews on this one are as uneven as those on Idlebrain; again, it has most recent releases. Careful with this site; it includes extreme spoilers. It reveals not just general plot elements, but the final solution to a suspense or mystery. (Think “the butler did it”.)
3. http://www.telugucinema.com/c/publish/cat_index_33.phpThis site seems to have better reviews than the previous ones. They still have the style peculiar to Telugu movie reviews: divided up into “Analysis”, “Cast”, “Performances”, and other peculiar categories. The writing is still average. But at least they seem to recognize a hackneyed plot when they see it. A very interesting feature: they list Hollywood movies that inspired each movie!

Telugu Movie Recommendations

Here are some Telugu movies that I enjoyed. Think of it as my top Telugu movies list. I tend to enjoy movies that are have good attention to detail. I usually don’t enjoy movies that are too masaledar or too artsy or too violent. I’ll keep adding movies as I come across them. This list has fairly recent movies; maybe I’ll create another list for the older movies.

I’ve started adding ratings. What do the ratings mean? They give you a sense of how good a movie is relative to others. A movie with a higher rating is better than one with a lower rating, but this doesn’t tell you how much better.

1. Anukokunda Oka Roju (5 stars). Low key, edge-of-the-seat suspense. Great, natural acting and tight direction make this one of my favourite Telugu movies. You can’t help connecting with Charmy’s character. Much, much better than its ridiculous Hindi remake Sunday. There’s not a thing wrong with this movie.
2. Surya, s/o Krishnan (4.5 stars). A Telugu-dubbed version of the Tamil superhit Vaaranam Aayiram (1000 Elephants), this is a great, compelling movie. It could be called a tragedy, but is really a mix of various types of story.  Despite some silly moments, it displays levels of intelligence that makes most Telugu films look like juvenile fantasies. A great deal of attention to detail went into this movie.  Entertaining, reflective and tragic in equal measures.
3. Godavari (4.5 stars).Heavily regional movie with the river as its theme. Kammula uses the scenery of the Godavari, local accents and the fresh cast to great effect. Great restrained performances from all of the actors.
4. Morning Raaga (4 stars). Part-English, part-Telugu movie with a nice Andhra feel. Shabana Azmi impresses with her portrayal of a traditional middle-aged Telugu lady.
5. Ashta Chamma (4 stars)Maybe I’m being too easy with the star ratings, but this was a smart comedy.  With the exception of Colours Swathi (ya, that’s her Tollywood name), all the actors struck me as self-aware and composed.  Swathi was good too; unfortunately her role demanded ditz.  The movie is mostly carried on Srinivas Avasarala’s comedy skills, but there were a couple of really well-done song sequence (I usually hate songs in any Indian films), intelligent dialogue-based comedy, generally intelligent handling of the direction, good diction and also — another rare plus in a Telugu film — good production values.
6. Vinayakudu (3.5 stars)This is a fun little entertainer with a unique theme: a (ahem) healthy-looking guy. I’ve got a couple of plot gripes with this story, but enjoyed the dialogue-based comedy, fresh in-character acting and the lack of violence.
7. Ullasanga Utsahanga (3.5 stars)This movie is unevenly paced and stumbles in a lot of places in a lot of the usual ways, but doesn’t take itself too seriously. The good thing is it lacks the unselfconscious naivete that many mainstream Telugu flicks have. The jokes in this movie are meant to be jokes. Another plus: good diction.  (I’m really bugged by the language contamination by the crappy accents of non-Telugu actors; the actors are great but it’s better if their parts are dubbed.)  It lacks any semblance of depth but is a watchable light-hearted romantic comedy.
8. Happy Days (3.5 stars). This early effort by Sekhar Kammula is relevant and perfectly captures various aspects of a gang of students’ journey through four years in a typical college. The music in this film is fantastic. However, the acting and diction were disappointing in patches and it was good, not great.
9. Gamyam (3.5 stars). Interesting story, nice portrayal of rural areas. One innovative dance sequence (the one with many hands). On the downside, the narrative isn’t as coherent as it could be and the movie’s moral science lesson is too in-your-face.
10. Nuvvu Naaku Nacchav (3.5 stars). Venkatesh does comedy well. There’s nothing even the least bit innovative in this film, but it doesn’t have any cringe-inducers either.
11. Aithe (3 stars). A so-so pick. It had a great story idea, but poor execution. The actors are not convincing at all, but what really bothered me was their absurd accents. Was the dialogue not spoken by Telugus?
12. Bommarillu (3 stars). On the better side of so-so. Genelia’s character is a little too ditzy – or psycho, don’t know which. But is generally well-made.
13. Anand (3 stars). Good, but not as good as Godavari. Sekhar Kammula, who directed both Godavari and Anand, seems to be shaping up to be a great director.
14. Anasuya (1 star). Ok, I actually hated this movie. The direction was horrible, the acting was so-so, the pacing needed a lot of work, and it almost looked like it was over at the intermission. The reasons it’s in this list are: it was genuinely scary, it was good in patches, like the Aliens-inspired ending sequence, and it had a really great story. In the right director’s hands, this movie could have been great.

Telugu Cinema and Maturity

Something has been wrong with Telugu cinema for a while. A long time ago, especially during the black-and-white era, the films used to be great. The acting was theatrical rather than realistic in those days, but the stories were good and the films were coherent. Sometime in the 70s or 80s, films in the Telugu industry took a turn for the worse. To be fair, this happened to all Indian films… late 80s Hindi films are often unwatchable. But around the end of the 90s, Bollywood began redeeming itself. Most of the films are still incoherent and meaningless, but they began making a few really good ones.

The Telugu industry still seems stuck in the 80s mold of incoherent, shark-jumping plots, gratuitous violence, and songs that are jarringly out of place. Instead of improving, the Telugu industry seems to be getting worse. The violence is more mindless, the plagiarism and stitching together of individual scenes from Hindi and Hollywood films has reached a point where some films feel like incoherent patchwork, and even the Telugu language is being massacred in many of the recent ones. The Telugu industry has also not realized the importance of theme music in a film (i.e. the background score, not the songs).

Examples of this include Pokiri, which is full of unrealistic and meaningless violence. Maaya Bazaar, a recent film (not related to the original), is a movie with a decent idea but is poorly directed, full of maudlin sermonizing and silly fight scenes. Aite is a recent film with a good idea but ordinary execution and very poorly spoken Telugu. Gajani is a rip-off of the Hollywood movie Memento, but is poorly executed and seems a little irrelevant in the Indian situation.

Perhaps it is silly to blame the industry, which is simply producing what the people want. But I believe it must be possible to make a popular film that is also good from a theoretical, critical viewpoint. Bollywood has done it, and the Tamil industry is following suit. That Telugu cinema can do it is evidenced by the large number of excellent movies produced in the past, and the occasional blips of excellence like Godavari. It is time Telugu cinema pulled itself out of the 1980s morass.

(Plantain Curry, Dry) Aratikaya Koora

Cut 3 aratikayas (plantain, raw banana) into small pieces, semi-cook, covered, in microwave.

In a saucepan, take oil, 1 tsp methi seeds, 1/2 tsp mustard seeds and splutter. Add 6 peppercorns and 4 cloves, ground into a powder. Add 6 curry leaves, fry. Add cooked plantain, begin frying. Grind 8 green chilis, a handful of coriander leaves and 4 tsp coconut and add along with salt and pasupu; mix well. Keep frying until crisp and cooked.