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‘ Ee Nagaraniki Emaindi’ Review – Appeals to Youth

Ee Nagaraniki Emaindi Review

Telugu360 Rating 3/5

Vivek, Karthik, Kaushik and Upendra are childhood friends. An aspirant director, Vivek plans to make short films with the help of other three as technicians. Meanwhile Vivek addicts to alcohol after breakup with his lover. Gradually each one of the four friends takes different career path until the day they re-unite. Back to their elements, the gang kicks off liquor parties and one ill-fated night all of them end up in GOA. Rest of the story is how they enjoy life in GOA, what kind of life decisions they take etc.

Performances:

VishwakSenNaidu as Vivek , Sushant Reddy as Karthik , AbhinavGomatam as Kaushik , VenkateshKakumanu as Upendra are the four main characters in this film. Each one of them excelled in acting becomes familiar to us by end of the film. Heroines Anisha Ambrose, SimranChowdary are adequate.Influence of ‘the hangover ‘can be visible in artists’ getups .Vijay Deverakonda’s cameo is interesting one

Analysis:

As they say ‘First impression is the best impression’. Within first few minutes, one can feel the director’s unconventional approach. The natural conversation between the friends, Scenes with no background score, spot dubbing to give off-beat feel,Karthik’s scene as club manager all in all TharunBhascker arrests the audience with his bold approach combined with talented writing. Once each character has been established, the fun ride starts. Kaushik as English film dubbing artist is hilarious, so is the gang’s drunken scenes. Vivek love proposing to the short film heroine scene came out well. . However, as movie progresses the scenes become redundant. The interval episodes make up for the downside of first half.

In second half, story lacks neither depth nor any emotion. Many scenes with conversations serve no purpose. Kaushik – Vivek drunken scene, Upendra’s Hindi dialogues scenes are saving grace in other wise boring second half.

‘ Pellichoopulu’ or any other hit movies carry strong characterizations of protagonists. This film has realistic conversations but the four friends’ individual characterization is poorly written. Karthik – the club manager characterization is half baked one. Though vivek’s attitude is shown it lacks characterization. There is no single impressive song in the film which is another drawback. Overall second half disappoints except two comedy sequences.

Positives:

  • Tharun Bhascker’s Subtle comedy dialogues
  • Youth appealing friends’ scenes
  • Direction and casting
  • First half entertainment
  • Lead actors’ performance

Negatives:

  • Slow paced narration
  • Very weak songs
  • Weak story

Verdict:

‘ EeNagaranikiEmaindi ‘ is an unconventional , slow paced , subtle comedy film which revolves around four childhood friends. Director Tharun Bhascker’s fresh approach in making , dialogues, all 4 lead actors’ performance are positive points. Ultra-slow paced meaningless scenes here and there, lack of good songs , redundant drunken scenes may limit the box-office performance . While trying to be a different, this film ends up little short of high expectations and may appeal for urbane youth.

Telugu360 Rating 3/5Release Date : 29th June, 2018
Director : Tharun Bhascker
Music Director : Vivek Sagar
Choreography : Niketh Bommi
Producer : D. Suresh Babu
Starring : Vishwaksen Naidu, Sushanth Reddy, Abhinav Gomatam, Venkatesh Kakumanu

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OKa Manasu Review : A Slow Paced Love Story

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Oka Manasu Movie Review

Konidela Niharika’s debut film Oka Manasu alongside Naga Shourya is gearing up for a grand release today. After a bunch of male actors from the illustrious Mega family made their entry into Tollywood, it is now time for a Mega heroine to entertain the audience with her acting capabilities on the silver screen.

Directed by Ramaraju, Oka Manasu, is a production venture by Madhura Sreedhar and TV9.All eyes are on the young starlet and the verdict will surely be a game changer for her career. Let’s see how well Niharika did in her debut.

Story:

Set in Vizianagaram, Oka Manasu is a love story between a two young professionals, a doctor (Niharika as Sandhya) and a politician (Naga Shourya as Surya). Rao Ramesh, who plays the role of Surya’s father, is a small time politician with an ambition to have his son succeed as an MLA. Surya is a loving, obedient son who commits to making father’s dream come true. He leads the life of a typical Telugu movie politician – negotiating settlements for money and instill fear in the people. Sandhya expresses her concerns regarding Surya’s risky life, but is in madly love with him. During a settlement, Surya kidnaps a relative of the Home Minister’s and a Dalit associate. This earns Surya jail time under the SC ST atrocity act. After he gets a temporary bail, Surya returns home and live together with Sandhya.
At this point, Surya is faced with the tough challenge to choose between Sandhya and his father. What led to this? What is Surya’s decision? How do Sandhya and his father react to this?  is the rest of the story.

Analysis :

A clean and matured love story, Oka Manasu runs on a  concept very different from your run of the mill love stories. However, the narration is extremely (read painfully) slow. In addition to the slow narration, Director Ramaraju can also be attributed with presenting each frame as a piece of art – soulless piece of art. The beauty of Vizag and Araku is well captured by the cameraman.

Given fact that 90% of the movie is conversation between the lead pair, the dialogues should have been more effective to make the scenes engaging. But, that’s not the case. Dry and ineffective dialogues lend to the negative aspect of the movie. The first half is pathetically slow, things get a little better halfway into the second half (this is where Surya makes his decision). The movie gets better from here on, ending with a heart touching climax.

The father – son thread between Surya and his father  is well executed. The love track is superficial for most of the movie, gains a bit of substance towards the end at which point it is too late to salvage the movie.

Shourya is perfect for the role as an obedient son and an adoring lover. Debutante Niharika has done a good job.

Actress Pragathi who played the role of Niharika’s mom in the movie need special mention. Her over action, extremely bad diction in a couple of scenes is just horrendous. Her future directors should make sure they keep her in check without going overboard.

Complete lack of entertainment quotient in the movie with just a single comedy scene for Vennela Kishore. Avasarala Srinivas played regular character – not a comedy one. Rao Ramesh excelled as usual.

Songs :

With soothing melodious music, Sunil Kashyap can be called the off screen hero. Coupled with Rama Jogayya Sastry’s good lyrics and arresting visuals, the songs are a good asset for the movie. However, we really wish that the director had used the songs with no interruption. Going the route of montage sequencing, he split the songs injecting scenes in between. ‘Ninna Lenantha’ , ‘O Manasa’ , ‘Chirugaali aagipove’ songs stand out.

Positives :
— Clean and a mature love story
— Well established father-son thread
— Sandhya’s unconditional love
— Poetic visuals
— Nice pre-climax and climax
— Soothing music

Negatives :

— Extremely slow narration
— Sluggish first half
— Ineffective dialogues
— Way too many conversational scenes between the lead pair – none making an impact

Verdict :

Made with good intentions Oka Manasu may earn some critical acclaim for the producers, TV9 and Madhura Sreedhar, as well as for the director Ramaraju. It’s possible it could start with not so favorable talk, but with good promotions it could attract the family audience to a certain extent. Slow non substantial first half and a slightly engaging second half, make the Box Office prospects for Oka Manasu bleak.

Telugu360.com Rating 2.25/5

 

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Raja Cheyyi Vesthe Live Updates , Review

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Raja Cheyyi Vesthe Review

8:07 AM : Average movie with superb twists post interval.. First half should have been more engaging.. Tarak is good in his new avatar, very good screen presence.. Pradeep Chilukuri has done a decent job overall.. Rohit should be appreciated for his script selection.

7:50 AM : Climax shot in an interesting way… All victims of Manik helping hero..

7:30 AM : Tarak Ratna’s new avatar will establish him in TFI if he chooses to continue these kind of roles.. He must improve his dialogue delivery though

While you wait, look at exclusive article fresh out of press : Bluesky Cinemas to release ‘Supreme’ overseas

7:25 AM : Raja vows to help to kill Manik… mind games between Raja and Manik..

7:20 AM : Emotional flash back.. Very well shot !

7:10 AM : The complete story behind who’s enticing Raja to kill Manik has been revealed.. Superb twist.. Amazing screenplay..

7:05 AM : Very gripping scenes after the interval, Raja is being forced by unknown person to kill Manik

6:55 AM : Hero receives a courier from the director/producer he writes the story for , Very interesting twist in the story.. Interval !

6:50 AM : Production values are good so far, though low budget , doesn’t look like one

6:50 AM : Hero emails his love story to the producer/director, Hero gets a response from the director/producer asking for an action story instead of love story.. Hero writes an action thriller for him

Story is very different from routine so far

6:40 AM : Hero proposes to heroine, Time for 3rd song “Raja cheyyi vasthe” title song..

6:35 AM : Hero tries to impress heroine, comedy scenes should have been slightly better

6:30 AM : 45 minutes into the movie.. No direct or indirect conflict between hero and villain established yet

6:25AM : Hero begins writing a love story for a producer,His own love story on screen as story Nice screenplay !

Time for 2nd song… Yevvare nee premaku

6:10 AM: References to NCBN and TDP: Heros friend to another friend abt hero – arey valla pedda nanna ni adugu.. Boledanni cycles istaaru

6:08 AM: Isha Talvar aka Chaitra introduced.. Hero and heroine in the restaurant.. Hero narrating his movie story to heroine… whole restaurant is listening to the story and applaud at the end..Gripping narration so far.

5:59 AM: Nara Rohit aka Raja.. Time for first song..

5:57 AM: Nara Rohit introduced on the bike shot used in posters.. Rohit is a wanna be movie director

Another exclusive to kill time : Dil Raju furious regarding Brahmotsavam nizam rights

5:53 AM: Tarak Ratna aka Manik is a ruthless and notorious professional killer.. Everybody including the police dept knows abt his murders but can’t arrest him because nobody dares to be a witness to the crime..

5:40 AM: Tarak Ratna introduced as a middle class man who comes to the vegetable market. He is a professional killer who comes to the market as common man to kill the vegetable market chairman.

While you wait, look at exclusive article fresh out of press : Bluesky Cinemas to release ‘Supreme’ overseas

5:40 AM: #Show time

Raja Cheyyi Vesthe movie is directed by debutante Pradeep and produced by Sai Korrapati under Varahi Chalana Chitram banner.Nara Rohit and Isha Talwar are playing the lead roles in the movie. Screenplay of Raja Cheyyi Vesthe, which is based on mind game between Hero & Villain is said to be highlight. Nandamuri Taraka Ratna is playing Villain Role in this film is another highlight.

Debutante director Pradeep Chilukuri’s technical brilliance is talk of the town in Tollywood. Heroine Isha Talwar earlier impressed all with her performances and looks in Gunde Jaari Gallantayyinde and Maine Pyar Kiya movies. Sai Karthik has given melodious tunes for the film. Sai Korrapati, known for producing tasteful films,tried his best to make this movie with high quality.  This movie is Nara Rohit’s third release in 50 days span,touted in a lighter vein as Nara Vs Nandamuri movie because  Nara Rohit,Taraka Ratna are playing Hero and villain roles respectively.

Telugu360.com as always bringing to you Raja Cheyyi Vesthe Review First on web, Live updates from premier show

Watch this space for Premier show live updates beginning THU 04/28 8 PM CST i.e. 04/29 FRI 6:30 AM IST

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Srimanthudu Live Updates

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Telugu360 team will be providing live updates and all the hungama from theaters and  across telugu states AP and Telangana.

No need to refresh your browser for New updates. Please leave this browser window open,new updates will be automatically loaded.

 

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

S/O Satyamurthy Review

The much-awaited film from ace director Trivikram starts out with an ominous censor certificate that puts the movie length at 162 minutes. You expect plenty of fireworks because the starcast itself calls for a Tollywood party – Stylish star Allu Arjun, Kannada Superstar Upendra, Mollywood cutie Nitya Menen, Samantha, Rajendra Prasad, Sampath, Rao Ramesh, Ada Sharma, Sneha, Sindhu Tholani, Vennela Kishore,  Kota, Brahmanandam and of course, late MS Narayan. With that kind of a starburst and the scale of budgets of a generous producer like Radhakrishna, one would expect Trivikram to deliver a blistering output that will glow on screen. Instead, what you get is a not so entertaining stuff and despite a lavish extravaganza and touchpad characterisation – the persona of the film slips and something  pulls down the rating of the film in the wake  of Trivikram’s celluloid capabilities.

Get it straight, there is nothing wrong with the film or the plot or the characterisation. The story itself is narrated first like a trailer of thirty seconds with visuals cut and pasted across the length of the film and then winds its way back to the inception. Anand (Allu Arjun) is the son of Satyamurty (Prakash Raj) with a networth of Rs.300 crores. Prakash Raj dies in a car accident and the world of Anand and his family of brother, his mother and himself is turned upside down. They lose the crores because half the net worth is leveraged or no, half the networth is in equity shares or wait, there is a land parcel. Whatever the rigmarole, Anand sells the assets and pays the dues disregarding the advice of Rajendra Prasad (friend of Prakash Raj) to dupe the public and make away with the debts. Because of the values that Prakash Raj instilled in Anand and because of the goodwill of his father, Anand takes the onus of repaying all the debts by fair means. And he embarks on a journey – first to earn something to pay off his niece’s school fees. This journey takes him on voyage of self-confidence as he gains good name wherever he goes – Rao Ramesh who breaks the marriage of Allu with his daughter Ada Sharma, Samantha who gets smitten by his level-headedness in giving up three hundred crores. Destiny takes him to Rajendra Prasad again because his daughter Samantha  is in love with Allu (Anand). Anand now enters into a bet with Rajendra Prasad to get original title deeds of a property in the custody of a quasi-government authority Upendra who heads dozens of villages and maintains an army of 600 (Looks like double the number of “300”) and marry his daughter. Upendra has another daughter Nitya Menen – and there is a twist in the tale but that comes after  a lengthy characterisation. On the whole, the story despite a complicated structure is not inexplicable. It is just about a young man who is determined to keep the reputation of his dead father high long after he’s gone  and how he succeeds thanks to a strong set of values imparted by his father.

What helps the film is the framework of story-telling with utmost dignity and class. Performance by Allu Arjun breathes life into many listless moments of canned jokes and quotations and the pet peeves of Trivikram on middle class moralities and values. His dancing skills are outshined by his emoting this time – using variety of accents and impressive one-liners, Allu Arjun packs quite a punch. Upendra with a baritone voiceover by Ravi Shankar makes his formal screen appearance after interval and gives an electrifying performance – something steals the thunder from everybody including Allu Arjun. His character has the X factor that elevates the second half despite everything else coming unstuck. Rajendra Prasad whose chemistry with Allu Arjun worked in “Julayi” extends that in this film with greater length and impact. He gets many genuine laughs especially the scene where Ravi gets killed while eating lunch with Upendra. Rajendra Prasad gets the best one-liners in the film. Samantha doesn’t have the depth in her acting to supplement the over-dosage of giggly vivacity she gave us since her first film. Nitya Menen has been grossly under-utilized and she gets short shrift in every frame  – at the cost of Samantha. Since Nitya’s next film is a Mani Ratnam release, this role is neither fulfilling nor memorable. Prakash Raj – whose character is the reference point for the entire movie and climax hardly gets to speak. His dialogues must be about half a page, Trivikram could have highlighted more instances of what made Prakash Raj such a principled man – you could have built a few scenes highlighting him because the message kept ringing that he was a man who stood for public good through Anand but not from Satyamurty himself. Others like Kota Srinivas Rao and MS Narayan have a handful of impactful dialogues. MS Narayana, especially brings out tears with his hug with Rao Ramesh – it’s a pity he died while shooting for this film. The result: dubbing for MSR is done by- someone else. Brahmanandam’s character has become ad nauseum – again, demand for a “Bakra” and all that. There has to be a saner way to bring Brahmanandam to life. If one has laughed heartily in the film  – and that happens in 3-4 scenes, it is not always with Brahmi on screen.Sampath is wasted. Fights by Peter Heins are well-composed: the fight with water hosesand the one in Upendra’s house stand out for their variety. Music by DSP is not in the same league of Trivikram’s or Allu Arjun’s earlier films. All songs are mass beats or fast beats. 

What undermines the film is the length – you could knock off forty minutes and still convey the kernel of the message. Trivikram has, for the first time faltered in this film. IN his bid to make an intelligent film, he lost his sharpness and clarity of thought. It is not clear how the Rs.300 crores networth ended up, how  it shrunk the lifestyle of the hero, what the company’s business is that suddenly skyrockets the valuation to ten crores, what is the connection of property papers lying with Prakash Raj and the business he is in. There is title justification but if only Satyamurty’s character is illustrated well, more key messages of relevance to today’s youth would have registered; it is important to inherit the values more than the assets of your elders. For a long time, Allu keeps mouthing clever aphorisms from Ramayana and Mahabharata which bore you like a vegetarian meal without salt and sambar. In spite of the load taken by the hero in preserving his dead father’s goodwill, there are inconsistencies in Anand’s character. He uses a short cut to fabricate stamp papers at the behest of his friend, he doesn’t reveal to Upendra first that he is not in love with his daughter but with someone else. There are inconsistencies with Upendra too – for twenty years, everybody except his wife knows his super-violent streak – that is highly implausible. Treatment-wise, the film is burdened with the same  genres that Trivikram likes to deal with. If you take “Julai and “Atharintiki Daaredi”, and mix them up with a bigger starcast, you get the experience of “S/o…”. Trivikram has mellowed in his aggression in violence and his story-telling is still a pretty above-average throwback to the old movies of B&W era where producers and directors collaborated with a mission to deliver quality films  – high in production values and high in morality. In fact, if you take many of Trivikram’s dialogues which have received dizzy heights of popularity, there is an undercurrent of old movies’ one-liners which are repackaged with modern makeup. For example, “Luck has come to give you a shake hand but Misfortune has jumped the gun to give you a lip-lock kiss.” Or something to that effect. These kind of dialogues were dime a dozen in old Tollywood films but Trivikram’s copywriting approach has sharpened the wordiness – despite sounding repetitive. He will also use one or two Telugu words which are incomprehensible to the current generation who ceased to have Telugu as their third or even optional language in curriculum. For example, in this film just like “Ayimoolagaa (Or Diagonally)” used in “Jalsa”, he uses “Manovarthi” or “Manovyatha” in the context of divorce. He creates that spark of curiosity to learn a word or two in Telugu which is lost on today’s generation. But if he has to take his story-telling to the next level, he has to prove his mettle lies beyond assembling an army of artistes, giving stars a good push, and trying genres different from each other. Otherwise, the dangers of familiarity will breed contempt. This film is alright in frames and conveys a compact story but there is no extra factor or layering in the screenplay or characterisation that makes you watch his movies again and again  – hoping to catch a new glimpse every time. He has the spark to move out of comfort zone – this movie should be a wakeup call to move out of that comfort zone in making films that test new genres and content delivery; he has the grip on narration, sense of good cinema with appeal for family audiences – even if he forgot to entertain much in this film – but he has to concentrate on more aspects than verbosity that got him massive fan base. “S/o…” finally ends in a climax that surprises you and despite a rocking first half, it leaves many things unanswered and a big void in entertainment that he forgot to fill. You can watch it once with many lags and drags but don’t bet on this film becoming a blockbuster.

Rating : 3/5

( Reviewed by Sridhar.S )

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

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