Rating: **1/2
Cast: Prabhas, Rana, Ramya Krishna, Anushka, Tamannaah, Nasser, Satya Raj
Director: Rajamouli
Music: Keeravani
Plus: Performances, technical values, makeup
Minus: No emotional connect, music, story

They say never count your chickens before they hatch. Well, for all those who were hailing ‘Baahubali – The Beginning’ as the next big thing for Indian cinema, the ‘Telugu pride’ and what not, let me tell you one thing straight – You are in for a big fat disappointment!

The hype and euphoria surrounding the film has been exponentially high and my heart goes out to all those who spent astronomical amounts to purchase the tickets (as high as Rs 7,000 in some parts of Telangana and Andhra Pradesh) because this flick is not worth all that money.

I should tell you that folklore and fantasy are my favourite kind of movies. The fact that they transition you, for a brief period, into an ecstatic alternative world is so exciting. I went into the cinema hall hoping for something like that and also in the optimism that Rajamouli had created yet another marvel that would add on to his oh-so-famous success streak.

If creating spell-binding visuals is all that takes to make an effective film, the director would have nailed it. Because this film has no captivating storyline to glue you to your seats and you have to make do with the delightful visuals.  And it is pitiable that in an attempt to make something larger-than-life, director Rajamouli hasn’t managed to give this film the life that it actually needs. The soul goes for a toss in the process.

What’s challenging about films made in a series is the ability to build interest for the next. Being selective about what to give away and what to withhold without making the film feel like a set of loose ends requires a forethought and intensive groundwork. And here’s where the director fails. Neither at any point of the film will you feel excited about the sequel nor will you have the experience of having watched a complete film.

That is because the story doesn’t facilitate the viewer to emotionally connect at any moment. Nothing stirs your sensibilities and you are left looking forward to something exciting at least in the next scene. Glimpses of Anushka’s Devasena and Ramya Krishna’s Sivagami are probably the only exceptions to that.

And then the chemistry between Avanthika (Tamannaah) and Sivudu (Prabhas) seems synthetic. How and why they fell in love is a question we are still asking. And before you try to find your feet in, the duo are dancing it away in what seems like a set inspired by filmmaker K Raghavendra Rao’s films!

Rajamouli is synonymous with action-packed sequences which are exciting to the hilt. Yet again, he fails in the area. The action seen in the trailers felt more exciting than what was in the movie. Sloppy editing is another negative to this flick that moves forward at a slow pace.

When a film doesn’t engage, its music could most definitely be a saviour. But that’s not the case here because Keeravani’s tunes are unexciting and add no value to this film.

The characterisations are exciting, though. Sivagami is one of the strongest female characters to have graced prime space in mainstream cinema in the recent times. Rana as Bhallaladeva doesn’t have much to say but his myriad emotions (anger, jealousy, recklessness, pride and slyness) are for all to see. Satyaraj’s Kattappa would remind one of Bhairava in ‘Magadheera’ and he does a commendable job. Though Tamannaah is impressive, she loses out to a smudgy character sketch. Prabhas has definitely given his all to his roles Sivudu and Baahubali. But sadly, Rajamouli fails to highlight him the way he deserves.

The most exciting portrayals are definitely Prabahakar’s Kalakeya and Anushka. Paired with intense depth to their roles is makeup that gives them an edge over the rest. It would be interesting to see the progress of Devasena in the sequel.

Sabu Cyril’s art design is exceptional. So is cinematography by KK Senthil Kumar.

Having spent such a long time in the making of the film, one would at least expect a decent story to go with it. But so much effort and money seems to have been spent on giving your eyes a treat that in the process nobody seems to have cared about what your heart wants.

Rajamouli had the best of all ingredients – cast, crew, technical team and a story with potential – but he cooked up the recipe wrong.


Update: 'Baahubali - The Beginning' is a wonderful attempt, no doubt. I definitely agree on that. I have many people asking me why I fail to mention the fact in my review. It's just that having waited for so long, I am not really impressed by the huge money that seems to have gone waste. It is a decent, one time watch. But coming from the stable of Rajamouli, one expects a lot more. 

Also, I would like to add that, this film has set the stage for what could be a compelling sequel - 'Baahubali - The Conclusion'. Yes there are inconsistencies. But you could watch this film for Rajamouli and his vision.

Ok Bangaram
Rating: ***1/2
Cast: Dulquer Salmaan, Nithya Menen
Direction: Mani Ratnam
Genre: Romance
Likes: Story, Lead performances and music
Dislikes: Starting, climax

Ever been in love? Whatever your answer may be, love will feel endearing and beautiful now.That’s the magic Mani Ratnam weaves with this breezy tale of love called ‘Ok Bangaram’.

Set in Mumbai and conceived around the lives of Aditya (Dulquer Salmaan) And Tara (Nithya) who are averse to the idea of marriage and are enjoying the fun moments of a live-in relationship, the film is an urban love story that falls short of being a classic.

Still from 'Ok Bangaram'

Here’s a couple that is head over heels in love. Ironically, not once during the entire process of falling in love or growing deeper into it do they utter the clichéd ‘three magical words’ – I love you.The words are so casually thrown in during a later scene that you realise how love needs no expression.

About 20 minutes into the film when you are beginning to wonder if Mani Ratnam has failed yet again, slowly and casually the film starts grabbing your attention and by the end, you just want to know what’s next in the lives of the couple. We’d say the director was taking the story forward at an interesting pace, the drama being built so skillfully, that the hurried climax makes you feel left in the lurch. But even then, the entire intoxication of the film is such, that these shortcomings can easily be forgiven.

There’s a sequence where Tara’s friends don’t really seem worried when she doesn’t catch the train they were all supposed to board together and instead ask her the next day, with excitement, about what had happened. Well, one wonders what kind of friends they are! A few more flaws do exist but we wouldn’t like to spoil the overall film viewing experience by mentioning them.

Dulquer and Nithya have a sizzling onscreen chemistry. Their conversations are sweet and light-hearted. Their performances are flawless and it would be interesting to see them together again. Prakash Raj and Leela Samson have a parallel love story that goes with the film’s mood and intertwines perfectly.

Then there’s AR Rahman who gives ‘Ok Bangaram’ its soul. Both contemporary and trendy, the music director has a winner here. Energetic, exhilarating and zestful, it elevates you high up into a different world. And how can we forget PC Sreeram? The ace lensman. He captures Mumbai’s characteristics so beautifully that it forms an important feature in the film. 

Love is that unique feeling which evokes so many emotions. And ‘Ok Bangaram’ is a film that does perfect justice to that statement. There’s desire, hope, fun, warmth, tenderness, lust and a twinkle of meaning. Yes, the film has illogical happenings and impracticalities but so does love!

Basthi
Rating: *1/2
Cast: Shreayan Kapoor, Pragati Chourasiya
Director: Vasu Mantena
Music: Pravin Immadi
Genre: Entertainer
Plus: Heroine, production values
Minus: Everything

Among the couple of releases every Friday, there is at least a film or two that welcomes a new set of actors, actresses and technicians who come with a “zeal for cinema” and the desire to make a mark in the industry. But it’s not always that they manage to hit the right notes.

‘Basthi’ is one such film. The debut of Shreayan, Jayasudha’s son and Pragati Chourasiya as the lead pair, the classic Romeo Juliet tale strikes again but in a tweaked sense.

Pragati debuted alongside Shreayan

Vijay (Shreayan) and Shravanti (Pragati) belong to families of arch-enemies – Ammi Raju (Mukesh Rishi), is the former’s brother while Bhikshapathi (Kota Srinivasa Rao) and Bhavani (Abhimanyu) are the latter’s father and brother respectively.  After a kidnap by Vijay’s family brings Shravanti to their house, cupid strikes and the duo fall in love. ‘Basthi’ is the story of how their relationship takes a course amidst frictions.

However, don’t be misled by the title which will make you expect a mass entertainer that will probably be a display of gangsters and gore. Because there is none of that here! In fact, all the drama that is happening is so contrived that you wonder how Jayasudha allowed her son to be part of a film that seems to have no goal.

It’s no sin to ride on a formula that has been milked to death but being unable to effectively tell a story which is run-of-the-mill definitely is! The conflict of interest is not established firmly at any point of the film, gradually making you lose interest.

‘Saga of love’ is the film’s tagline. But it is very ironic that the film fails to deliver to us any depth in the couple’s relationship. How and why they fall in love is a matter that is best left untouched because it didn’t quite reach us! It all comes across as synthetic.

Shreayan, Jayasudha's son is seen on the big screen for the first time

Considering Jayasudha’s title of ‘Sahajanati’ (natural actor), one would expect to see an extension of her talent in her son. But sadly, Shreayan disappoints. He still needs to nurture his craft which is amateurish. Director Vasu Manthena’s ineptitude in portraying him in a good light add to his substandard debut. Pragati’s experience as a child actress and on television comes in handy here. She justifies her act, skillfully aided by a perfectly matched dubbing (by singer Lipsika). But sadly, she is lost in a plot that has no intensity or effectiveness.

Pravin Immadi provides no value addition to the film with his music. Even his background score is very loud and brash. Cinematography is adequate though.

Vasu Mantena may have a passion for cinema. But passion alone doesn’t translate to significant cinema. The effort and good writing backed by a solid technical crew does.  

Still from 'S/o Satyamurthy'

S/o Satyamurthy
Rating: **1/2
Cast: Allu Arjun, Samantha, Nithya Menen and Adah Sharma
Director: Trivikram Srinivas
Music: Devi Sri Prasad
Genre: Drama
Plus: Allu Arjun, cinematography
Minus: Storyline, screenplay

The last time Trivikram Srinivas and Allu Arjun came together, ‘Julayi’ was what we got. That was one fun. And when the duo announced that they were collaborating again, we expected something more entertaining and even more delightful. Not denying that ‘S/o Satyamurthy’ has something interesting to offer but it trails off into a journey of ‘viluvalu’ (values) that it so desperately wants to preach and ends up becoming a confused blend of values (that don’t quite reach us), emotions (too many of them) and a plodding storyline.

Viraj Anand (Allu Arjun) has just lost his father Satyamurthy (Prakash Raj). His love for his father is immense and he will do anything to ensure his name remains clean. Well, the whole film is about the journey that goes into doing so.It’s in this journey that he meets other characters essayed by Rajendra Prasad, Samantha, Adah Sharma, Rao Ramesh, MS Narayana, Upendra, Sneha et al.However, the ride to ensuring his father’s reputation isn’t a cakewalk.

He has to go the typical Telugu hero way – bring in a comedian into the proceedings, an extra heroine to add some glamour and to bring in a twist in the tale– and ensure the values daddy gave him are on display.Unlike ‘Attarintiki Daaredi’ where most of the ensemble cast was just a backdrop to the storyline; this film sees each one provide something to the otherwise wafer thin storyline. 

However, in an attempt to give everyone’s character a dimension, Trivikram makes some characters into caricatures – Sneha and Nithya Menen are the examples. They are there but knowing their full potential, we wish they had more to do.This could possibly be Allu Arjun’s best performance yet. But he’s lost in the mélange of confusion. Thankfully, none of the actresses play damsels in distress even though Arjun does come as their knight in shining armour many a time. Samantha does her best as usual, Adah looks gorgeous and Nithya is below her potential. 

Rajendra Prasad’s character with a few shades of grey is convincing. Upendra’s comeback to Telugu cinema is interesting and we’d like to see more of him.  Sneha is wasted. Prakash Raj is barely there.Trivikram Srinivas is a genius. He has the rare ability to distil dialogues and bring out their true essence. As many say, he is a magician when it comes to his skills with the pen. But ‘S/o Satyamurthy’ makes us wonder if the enchantment is slowly vanishing (though we don’t want to). There’s no punch in most dialogues except for an occasional high moment.

No denying that there are moments of crazy laughter, witty remarks and some thought provoking words, but Trivikram’s benchmark is set so high that the writing of this film doesn’t excite us enough.All said and done, if you are a lover of a Telugu cinema who enjoys watching the hero being the Good Samaritan and fancy a few tear-jerking moments, this film is definitely for you!

Temper
Rating: ***1/2
Cast: NTR, Kajal Aggarwal, Posani Krishna Murali and Prakash Raj
Director: Puri Jagganadh
Music: Anup Rubens
Genre: Action-drama
Plus: Lead performances, music
Minus: Violence, too much booze

So we were told that NTR could possibly have been part of ‘Pataas’. Now we know why he probably wasn’t. And if you watch both the films, you will know too! Because ‘Temper’ will be a déjà vu of the Kalyan Ram-starrer, at least for a major part of the first half!

A corrupt police officer – check. Raking in lots of moolah – check. Change in behaviour after some time – check. Reason for change is the brutal murder of a young girl – check. Sex starved youngsters the cause for all this – check. Hero is the aide of the villains – check.

But despite that, ‘Temper’ has its own soul, courtesy director Puri Jagganadh who has given it a very likeable treatment. The film starts on a beach where Daya (NTR) suddenly wakes up injured among a sea of dead bodies. And then we are taken into the flashback of a little orphaned kid Daya who wants to become a cop only so that he can earn a great deal of money.

Still from 'Temper'

He grows up the same and is as corrupt as corrupt can be. He (NTR) goes on to become the aide and friend of Waltair Vasu (Prakash Raj), a ruffian who wants a police officer to cover up all his illegal and unlawful activities.

And Puri Jagganadh skillfully weaves around an intense drama that slowly grips you. While the first half offers no great shakes, it is the second half that brings in an adrenaline rush. Every scene just elevates the impulse created and it goes higher and higher.

There are some interesting scenes throughout the film, for instance Murthy (Posani), a sincere constable’s reluctance to salute to Daya. Though you had expected it right from the start, when he finally does salute, you are glad. Then there is the rape video that comes as a thunderbolt and brings you into reality for a bit.

Interestingly, for Puri Jagganadh’s standards, the violence is very mild. Not that there is none but when you compare to many of his other flicks, it is comparatively mellowed.

However, the good stuff apart, ‘Temper’ comes with a couple of flaws too. There’s too much of booze all around, it gets irritating after a point. Then there are the scenes from NTR, Hari Krishna and Balakrishna’s films – unnecessary.

Anup Rubens music and Mani Sharma’s background score are value additions to the flick. The background score, especially, brings life to the drama.

NTR has been going through a dry spell and it is understandable that he would give his best. But why the director makes him shout his lungs out is one code we haven’t been able to crack. Despite that one flaw, he gives an amazing act and he has some powerful dialogues to utter. You can’t help yourself from hating him. His meanness and corruptness is so natural that at a point of time you wish he adapts the good ways soon. Added to that is some impressive choreography that only elevates and highlights NTR’s ability to dance.

As for Kajal’s act, it makes us realise that despite so many new faces that have come in recent times, the screen presence she has, is something that cannot easily be matched. It would be nice to see her more often on the big screen.

Other noteworthy performances are that of Posani Krishna Murali and Prakash Raj – while Posani’s role is like an anchor to Daya, the latter plays his role to perfection. Other performances by Subbaraj, Madhurima, Tanikella Bharani et all are perfect.

If you are someone who loves a typical Telugu masala entertainer, this is one for you. It has its flaws and isn’t perfect. But watch it just for the fun of it and please don’t take your kids along!

Rajinikanth in 'Lingaa'

Rating: **

Cast: Rajinikanth, Anushka, Sonakshi Sinha and Jagapathi Babu

Director: K S Ravi Kumar

Music: AR Rahman

Genre: Action-drama

Plus - Rajini, the action block on train

Minus - Script, music and running time

Superstar Rajinikanth is back. Amidst controversies and being in the news for over a week, his ‘Lingaa’ managed to reach the silver screen just in time for his birthday. But was it worth the wait?

After a gap of four years, Rajini makes an appearance on the big screen (We aren’t considering ‘Vikramasimha’ here as it is more an animation film than a proper Rajini movie) and expectations were definitely sky high. We have learnt long ago that expecting logic from the Superstar is being illogical yourself. But when you start watching his film, all you want is action, Rajini’s style, powerful one-liners and if possible being over the top. Candidly speaking, ‘Lingaa’ has all that, but not in abundance, much to the disappointment of the fans.

That said, ‘Lingaa’ is a film that takes you into déjà vu as you have seen it all before. There’s that template of many Rajinikanth films you have seen before. The film begins with some comedy, moves into some more comedy and then gradually seeps into an emotionally charged flashback. Here’s a gist of the story: Lingaa (Rajinikanth), a petty thief, is the grandson of Raja Lingeshwara, the King of Gadwal. The Raja had done a great deal of good to a village, Singanoor, by constructing a dam for them. Well, that’s it! The rest of the story is a drama weaved surrounding this concept.

Interestingly, for a film that is embroiled in controversy over plagiarism charges, nearly 15 minutes (a robbery scene that involves a jewellery exhibition) from the first half is a rip off from 1966 film ‘How to Steal a Million’. Period.

‘Lingaa’ is a let-down due to many other reasons. First of all, the story is a tried and tested formula, as discussed earlier. Secondly, in spite of being a run-of-the-mill story, it could have been told well, and in that department it terribly fails. The third thing is that director Ravi Kumar’s imagination seems to have been limited. Neither does he give us something new nor does he give freshness to stuff we have seen before.

Rajinikanth, as usual, is in his element. His signature laughter, thrusting dance moves and larger-than-life stunts are plentiful. However, what feels amiss is his style- though there are a few scenes like Rajini jumping off a bike onto a hot air balloon in a typical Superman style and kicking the goons atop a train. While you are gratified by a few such sequences, in the end you are left desiring more. Director fails to project the style that everyone wishes to see from a Rajini film. What is commendable, however, is Rajinikanth’s dressing. Youngsters will definitely want a piece of that!

Anushka is just eye candy but manages to do a good job playing a journalist. Sonakshi Sinha’s south debut will definitely prove fruitful for her, considering she has an interesting role and also gives freshness to the screen.

Jagapathi Babu is definitely a misfit in this film and doesn’t match up to Rajini’s energy. Even the foreigners (who play the British) are a drawback.

When AR Rahman is part of a project, no matter how the film is, we expect the music to be a highlight. But once again, here’s another aspect of ‘Lingaa’ that’s a setback.

‘Lingaa’ has been dished out to satisfy the cravings of Rajini fans, die-hard fans rather. Others, would like to watch it only if they like seeing the matinee idol on screen!

Rating: 2.5/5
 
You know that feeling when you are driving to a far off destination and just when you have almost reached, your petrol is up and your bike decides to stop two kilometers away? All you can do then is push your way to the place! What was almost going to be a relief becomes a trouble by the end. And that, readers, is what ‘Autonagar Surya’ reminds us of!

What could have been an interesting journey in the world of the automobile mafia of Autonagar, Vijayawada instead turns into a gory and violent battle filled with threats and murders.

It is a film that will unintentionally remind you of Nagarjuna’s ‘Shiva’ and Naga Chaitanya’s ‘Bejawada’. Set in the backdrop of the pre internet world – the 70s, 80s and 90s – this is a story of Surya (Naga Chaitanya), orphaned in childhood when his parents are killed by a woman trafficker in a speeding train. When his uncle (Sai Kumar) refuses to let him stay with him, he takes shelter at a neighbouring garage and grows up with a kind babai.

But this isn’t just a story about him. It’s a story about a boy whose troubled childhood forces him to fight for rights, to dream big and to make a difference. While his parents are killed in 1973, a few years later in the 1980s, an orphaned Surya helps babai finish work on a dream diesel car – the first of its kind in the country. However, a tussle with the local mafia lands Surya behind the bars. But as luck has it, he finds a generous prisoner (Tanikella Bharani) who notices the spark in him, and ensures he completes a degree, before he leaves prison.

Back in Autonagar, he finds that neither the situations nor the people have changed. This time he has a dream of his own – the construction of a battery car.But just like before, the automobile mafia resurfaces as a stumbling block.  However, Surya, this time around, doesn’t let Indra (Jaya Prakash Reddy) and his menacing brother (Ajay) spoils his game. His biggest enemy, the trafficker who killed his parents, is also at the front end of all this! So does he successfully finish his dream project? Can he help Autonagar get rid of the mafia? The movie answers those questions.

The first weak link in this Deva Katta directorial is the stretch of the film. Even though it runs a general two and a half odd hours, it seems too long due to multiple action blocks and loads of carnage. Next is the screenplay. While elements like comedy and romance aren’t really required, they seem to have been forcibly put in just to impress certain section of the audiences. Even the placements of songs seem to be obligatory and have no connect with the preceding or following scenes.

However, along with the flaws are a bucketful of positives. For instance the period which the film follows has simple properties – telephones, Ambassador Cars, movie posters, radio songs – that convince the viewer of being a part of that era.

The director has an able cast that performs a notch above fine. Naga Chaitanya hardly smiles and is an angry young man all through – a total departure from his previous outing, ‘Manam’. Samantha looks lovely and as usual gives her best. Sai Kumar as the scornful uncle justifies the role. Jaya Prakash Reddy, Ajay and the rest do what is needed of them.

Music by Anup Rubens is strong, especially the background score which adds to the intensity, and strengthens the film.

Overall, ‘Autonagar Surya’ is an interesting tale that could have been narrated better.

Still from 'Maine Pyar Kiya'

Rating: 2.5/5
Sometimes beautiful visuals and amazing music can make you forget a series of flaws. And if the two are paired with some good performances, it’s like the icing on a cake. ‘Maine Pyar Kiya’ could have been that yummy cake if not for a sense of something being amiss all through.

This story of Naveen Chintapandu (Pradeep) and Shalini (Isha Talwar) is an attempt to explain that love is an emotion and marriage is a system. It is not necessary that the end of every love story is marriage. Interspersed in their love story is a flashback that causes a rift or to put it simply, a blast from the past. Another love story – between Bharath (Sathya Dev) and Malathi (Madhumitha) – comes to the fore. But unlike the first one, this is a simple tale of pure love -- just like those 80s movies. And the director sure receives brownie points for it.

But otherwise, Pradeep Madugula, in his attempt to weave an interesting tale, makes it a complex (and at times boring) story by amalgamating too many characters.

There is the gay Posani, the cleanliness freak Harsha and the liquor businessman Venu Tillu. While each of them plays interesting characters, they are totally lost in this tale that has a humorous first half. However, a few guffaws and an interval later, you can find yourself yawning because everything is predictable and even the flashback could have been an interesting watch if not for the spoiler revealed ahead.

The flaw of ‘Maine Pyar Kiya’ is that it fails to use good performances in its wafer-thin plot. Lead actor Pradeep is a face we would like to see more often on screen. He has good looks paired with the charisma an actor needs. Though his character isn’t etched in a way to make the audience understand whether he wants a serious relation or is just looking for another fling, he performs sufficiently in what is offered to him.

Isha Talwar looks a lot prettier than in ‘Gundejaari Gallanthayinde’ and her acting too has improved considerably. However, her character has a lot of scope for performance but is crippled by her inability to express and the silly dialogues which she has to utter at times.

But the highlight of the film is actor Sathya Dev’s performance. His entire track, which is the major part of the flashback sequence, is amazing to watch. In a scene where he is confronted by his long-lost love Malathi, his eyes speak a thousand emotions. Period!

The rest of the cast is okay, with Posani deserving a special mention for his gay act. Though overtly stereotyped, it’s absolutely lovable!
The winner in ‘Maine Pyar Kiya’ is its brilliant background score.  Yawn-worthy moments are livened up by spunky, peppy and bubbly background music. Also, the songs are pleasant and perk up the romance in the film.

‘Maine Pyar Kiya’ which could be confused with the Hindi film of the same name, is nowhere near its predecessor but if you want to watch a feel -good romantic movie, here’s something for you. But the fact that it is frothy in places is something you would have to bear!

Rating: 4/5
Cast: Avasarala Srinivas, Sivannarayana, Harish, Shanya, Vasu Inturi, Ahuti Prasad, Suchitra

You know that laughter which comes out of sheer brilliant scenes and quick witted comedy? That laughter has really taken a backseat for a while in the Telugu cinema industry. What you see instead is a contrived buffoonery that uses humiliation a way to make people laugh. But ‘Chandamama Lo Amrutham’ comes as a breath of fresh air providing a wonderful journey full of meaningful laughter. There’s a child inside every one of us that craves to come out into the open once in a while and ‘Chandamama…’ ensures it pulls the child out.

Director Gunnam Gangaraju’s TV series, ‘Amrutham’, of which this is a spin off, was a light-hearted, warming experience loved by many. If you have watched ‘Amrutham’ and have always wanted something a lot more from it, then here’s your dream come true. Without making caricatures of our favourites – Amrutha Rao, Anji and Appaji – the director makes a wonderful film that will keep you glued to your seats through the length of it and will ensure you will not regret the money spent from your pocket.

We have a simple story about two best friends – Anjaneyulu (Harish Koyalagundla) and Amrutha Rao (Srinivas Avasarala) who become rich by chance. And then the same richness helps them land on the moon with family in tow. But then there is a lingering danger that is set to follow them all the way from moon to earth!

148 minutes of non-stop fun is what ‘Chandamama…’ promised. And it delivers. The best part about the film is that there are no stars and all we have are endearing characters who feel close to you. The asset of the sitcom ‘Amrutham’ was its simplicity and meaningful humour sans any vulgarity – a trait that seems to be the style of today’s cinema. And ‘Chandamama…’ lives up to the same. In fact it exceeds expectations and proves to be a delight.

Though it begins at a slow pace after 15 minutes into the film there are hardly any moments where you wouldn’t be laughing out loud. The laughing saga reaches its peak after the moon enters the picture and it continues to elevate every moment till the end. There are some noteworthy scenes like ploughing fields on the moon, a space suit for a buffalo (no kidding this!), a ‘silent’ marriage sequence and we could go on. 

The biggest asset of ‘Chandamama…’ is the fact that the director doesn’t elevate any character more than required and keeps them simple. Srinivas Avasarala has comedy written all over him. His expressions are enough to make you laugh. Added to his charm is Harish’s comic timing which is impeccable. Performances by Rao Ramesh, Shivanarayana, Ahuti Prasad, Dhanya Balakrishna et al just complete the film.

The film doesn’t really have any songs but uses some old classics to make the story move forward. Surprisingly the story moves so smooth that you don’t realise the absence of any songs till the end of the first half. Making the ‘first space comedy of Indian cinema’ is the best ever decision director Gunnam Gangaraju ever made. He has proved time and again that he is one of the finest filmmakers the Telugu cinema industry has ever seen. And it’s about time we give Gunnam Gangaraju his due! And how? Just run to the theatres… now!!!! And finally if living on the moon would be so much fun, we wouldn’t mind booking our tickets right now! In the meanwhile, you should waste no more time and book yours for this film too.