Temper – Powerful Cop Drama.........................ROUTINE STORY

Story:-

Daya (NTR) is a fully corrupted police officer who gets transferred to Vizag. There he joins hands with Walter Vasu(Prakash Raj) and treads the corruption route.

Twist in the tale arises when Daya’s girlfriend(Kajal) gets accidentally kidnapped by Walter Vasu. This incident makes Daya very angry and he goes against Vasu and his empire.

During this time, Daya also comes to know that there is a bigger motive behind this kidnapping. What is that motive ? Will Daya manage to find out the truth and punish the culprits ? That forms the rest of the story.

Plus Points:-

Credit should go to Puri Jagan for showcasing NTR in a never before seen avatar. Right from his look to the powerful character he has portrayed, NTR looks a million bucks and is the major highlight of the film. The way he has balanced his character especially during the climax is out standing. NTR’s body language and dialogue modulation are at peaks during this part. You will see a new NTR in this film and credit should go to him for portraying such a diverse role.

Prakash Raj once again proves his mettle and gives a decent performance. He looks perfect and all his confrontational scenes with NTR have come out extremely well. Kajal looks gorgeous and provides the necessary glamour. Madhurima is quite good in her role and brings in the necessary impact.

Posani is superb as NTR’s sidekick and evokes awesome emotions throughout the film. Second half is the heart and soul of the film and runs on a emotional mode. The court episode during the climax evokes thumping applause from the audience and has been handled quite effectively. Chemistry between Kajal and NTR is outstanding.

Minus Points:-

First half of the film is just average. Had Puri brought in some basic entertainment values during this part, the output would have been even more effective. Kajal has absolutely nothing to do in the second half.

Story of the film is quite routine and gets predictable. Subjects like these have been dealt many a times in the past. Sonia Aggarwal is wasted in her role.

Technical Aspects:-

Anup Ruben’s music is decent as all the songs are peppy and have been shot stylishly.Production values are superb as the makers have not compromised on the visuals. Camera work is top notch and showcases Vizaq beautifully. The way NTR has been presented in a all new attitude is pretty good. Lyrics are quirky and gel with situations quite well.

Dialogues need a special mention as they have been written with a lot of impact. Screenplay of the film is below average in the first half and only picks up during the second half. Puri Jagan is at his supreme best when he deals with stories based on cops. The way he has extracted performance from NTR is excellent. Puri also manages to showcase the problems in the society in a interesting manner and narrates the film quite crisply.

Verdict:-

On the whole, Temper has everything which NTR fans can eagerly look forward to. NTR’s stylish look and super strong characterization are major assets of the film. If you can ignore the routine story, you are in for an emotional entertainer which is going to become a perfect comeback hit for Young Tiger.

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Endukante Premanta Review – Ram Movie

   Ram (Ram) and Sravanthi (Tamanna) meets in Paris in an unusual situation. They turn friends and both their destiny is the same. They need money and passports to get away from there. Sravanthi helps Ram to reach India from Paris and she too finds a way to come there. However, Ram comes to know that there is something he doesn’t know about Sravanthi. This will set a goal for him in life.

Analysis:

Endukante Premanta is a complicated storyline which deals with illogical elements. In a way it is a romantic fantasy. Director failed to get the perfect balance between fantasy and reality. The film is illogical throughout. Despite offering few entertaining scenes here and there the film falls short of entertainment.

Director didn’t do much homework on the script and it is evident in each and every scene. None of the scenes touches you. Love story is half baked. The chemistry between the lead pair is absolutely absent. May be the storyline doesn’t demand intimacy between the lead pair, but that doesn’t mean love should be non-existent.

Endukante Premanta is inspired from the film Just Like Heaven. Director failed to adopt it to our style. Due to lack of proper work on the script it falls flat. On a whole Endukante Premanta is a badly done film with half baked story.

Performances: 

Ram was energetic. He did his best to the role. His performance was lovable and his presence was adorable. He has put in extra efforts in the dances to enthrall his fans. Tamanna did well as the damsel in distress. She was gorgeous in close ups. Rishi was just Okay as the villain. Sayaji Shinde was nice. Brahmanandam provides few laughs. Anu Hassan was decent. Kona Venkat didn’t make his presence felt. Krishna Bhagavan was alright. Rest of the cast did a fair job.

Technicalities:

Prakash Kumar’s music was a letdown. Much needed Melody was completely missing. Background score was not up to the mark. Editing could have been better. Cinematography was an asset. Andrew’s camera work stands out. Dialogues were neat.

Karunakaran, who is known for making feel good romantic entertainers, faltered this time. Story and screenplay were the weak links. The director in him could have lifted the spirits but somehow brand Karunakaran was absent in this film.

Final Word:

Endukante Premanta lacks the soul and feel that are much needed for this type of films. Except for few funny sequences, the film offers nothing to any section of audience. The concept too isn’t universally acceptable.

Endukante Premanta Movie Rating: 2.25/5

Banner: Sravanthi Movies
Cast: Ram, Tamanna,
Direction: Karunakran
Music: GV Prakash Kumar
Producer: Sravanti Ravikishore 

Premalo Padithe ...........

Story:

Venu (Sri) is a poor boy who works as a helper at a road side hotel. He falls in love with Jyothi (Urmila Mahantha), who works as servant maid in an apartment. When Venu decides to express his love for Jyothi unexpected things happen and she will be hospitalized and Venu is taken in to police custody. There is another love story in this film between Nitesh (Mithun Murali) and Aarthi (Manisha Yadav). This love story is the root cause for the trouble that has happened in the lives of Venu and Jyothi.

Analysis:

This film has realistic characters that we come across in our daily life. However, the setup doesn’t look fresh as most of the Tamil films these days have been dealing with such backdrops and characters. Director tried to make the narration look interesting by adding crime element. He partly succeeds in it.

First half of the film is very boring and uninteresting. The scenes between Venu and Jyothi don’t have the spark to excite the audience. Narration is very flat until interval and later the pace picks up with addition of contemporary elements like making MMS videos of teenage girls.

These scenes are poorly done and the film runs on a dull note. Slow screenplay has been one of the biggest problems for this film. Interesting things happen in the pre climax scenes and like every Tamil film, it ends on a tragic note. It is high time that Tamil filmmakers realize that they are being extremely monotonous. This type of tragic films might work with Tamil audience. Our audiences are no longer interested to watch Tamil flavored tragic romantic tales.

Performances: 

This film is made with newcomers and they have done a pretty decent job. Urmila who played Jyothi delivered a superb performance. Sri is perfect in the role of a slum boy.

Technicalities: 

Vazhakku Enn 18/9 is made on a low budget. But the quality of the film is very good. Cinematography stands out. Background score is nice. Editing is adequate. Director Balaji Shaktivel’s direction is decent, but there are many problems with the script, which lacks commercial appeal. Balaji previously made Premisthe on same lines and now he adds a crime element to that age old love story. Freshness is missing in this film. Entertainment is non existent.

Final Word:

If you like films with tragic endings then you may give a try at your leisure. Majority of Telugu audience like to watch entertaining films and therefore the success of this film remains doubtful. This film doesn’t have much to please the audience who watch out for feel good films. It may work in Tamil, but in Telugu, Premalo Padithe needs very good word of mouth to survive for few days.

Premalo Padithe Movie Rating: 2.5/5

Cast: Mithun, Sri, Urmila Mahanta, Manisha Yadav
Music: Prasanna
Producer: Suresh Kondeti
Director: Balaji Sakthivel 

Neeku Naaku Dash Dash

                               There was a defining moment in Nuvvu-Nenu when Uday Kiran detested the tyranny of elders like a puerile, saying "Chi chi mee peddolu unnare.."  Watching Neeka Naku Dash Dash one feels that Teja has not been able to come out of that hangover.  In NNDD, the girl, now a tired heroine after hours and hours of running from chasing goondas, says to a violent cop, "Neeku moodindira", referring obviously to the heroism of the hero, who has all along presented a timid persona.  Coming as it does after she is beaten to a pulp, the scene would have raised the roof but for the fact that it was delivered by a bad actress.  Talking of the hero, like that Prince in Nijjam who wore a helpless look, debutante Prince wears a pathetic look throughout and seems like the alter ego of a child artist.  Sans good performances, what is left in NNDD is an overdose of already-seen elements and a dash of blah blah.

                      Teja knows well that there are only a handful of stories to tell, the problem is he doesn't know how to tell the same story with a different narration.  So, in NNDD he retells an old idea (at least a decade old, if not more) in a different setting.  In fact, the difference begins and ends with the setting.  It is basically a love story, a prop and a liquor syndicate out to nab the love birds are there just to cloak the trappings of Jayam that are so vividly on display.

                     Here the story is initially set in a factory where the hero and heroine prepare fake liquor.  The setting is a cottage industry but Teja gets into the Nuvvu Nenu mode and vainly tries to showcase it like a college campus.  He adds a heavy dose of low brow humour and a dash of masala to cook up chemistry between the two lovely captives, Shiva (Prince) and Gayathri (Nanditha), who work there like bonded labour along with many other 'college kids', owned by Bapineedu.

                 Shiva mistakes a co-worker to be a cheat and complains against him to Bapineedu, who guns him down and promotes Prince.  The truth, however, is that the murdered worker had been saving his salary for his sister's wedding.  Owing moral responsibility for his death, Prince takes upon himself to handover Rs. 5 lakhs to the deceased worker's mother.  In the process of running away after stealing Bapineedu's money, his problems are multiplied when a greedy Nanditha loots crores of rupees!  The dirty money minted by Bapineedu by tonnes is very important because a good chunk of the share goes to someone as important as the Home Minister.

                 There is a sincere police officer (Banerjee), who wants to finish Bapineedu.  The rest of the film is about who catches hold of the love birds on the run first - the cop or the crook?

Teja's stamp was on an impressive display for a good 45 minutes when the film entertained.  Rest of all it was an apologetic attempt at rehashing one or two oldish elements.  If a weak comedy track in the half-an-hour is placed on the heavy shoulders of Suman Shetty, Venu's comic timing in the second half works well.  Nanditha's repetition of the word 'dash' smacks of innuendo.

            Teja's style lies in treating the inhumanity of the villains with dispassion and the heroism of the underdog with indulgence.  Though he treats gore with a flourish in this film, the atavism of Bapineedu's mistress and Prince's later stage boldness look completely old-fashioned.  The romance is boring and even unseemly, its throwback to Chitram and Jayam is, again, outmoded.  Teja doesn't like to mix his thinking with that of others and that's why he doesn't watch TV, as he had said once.  Fair enough.  But how does he miss logic even though his head is not 'muddied' like the rest of us?  If you know who is missing, would you ask your warden to check whether that person is there in the hostel or ask him to count the heads?  There is so much unaccounted money in the almirah but Baneerjee is looking for evidence to arrest Bapineedu, thereby setting him as his competitor in hunting down the lovebirds.  Only in our films do we get to see illogical elements like this: A house where hundreds of crores are stashed away is guarded by unarmed men, all drunkards whom even the boss doesn't trust after 9'O clock.

                  There is no more any magic left in Teja's dialogues.  Yashwanth's Nag's music is not helped a bit by the poor tempo for the songs.  The cinematography was, however, adept.

Released on: 13th April, 2012