‘Uma Maheshwara Ugra Roopasya’ movie review: A welcome petrichor

Uma Maheswara Ugra Roopasya is built on the of masculinity and rage. It questions the need for virility and the extent men can go to flaunt.

Towards the end of Venkatesh Maha’s Uma Maheswara Ugra Roopasya, there’s a brief but important scene between a daughter and her mother. The daughter asks her mother if she thinks men are stupid. Nodding in agreement, the mother says that their stupidity and rage knows no bounds. The entire film, a remake of much cherished Malayalam drama Maheshinte Prathikaaram, is built on the notion of masculinity and rage. The film questions the very need for virility and the extent men can go to flaunt and celebrate it.

For an industry (Telugu cinema) that thrives on glorifying masculinity in the garb of heroism, here’s a film that comes as a whiff of fresh air.

The story, set against the backdrop of beautiful Araku valley, is centred on an average photographer – Uma Maheswara Rao, played by the terrific Satya Dev, whose world revolves around tending to his old father, childhood crush and his photo studio. When Mahesh is roughed up for no mistake of his in the town’s marketplace when he tries to stop a conflict, he swears to not wear his slippers again, till he avenges the beating.

For a story that’s about a common man’s revenge, the film is thankfully not serious and mostly works as a light-hearted take on rage and masculinity. Even though a remake, Uma Maheswara Ugra Roopasya has its own charm and works beautifully because it adapts the story to the rural Telugu setting quite convincingly. It is also well aided by the overall good performances of the supporting cast, especially the likes of veteran actor Naresh (who is unbelievably good) and others like Suhas and newbie Roopa Koduvayur.

Satya Dev, who is consistently good lately, is a solid match to Fahadh Faasil and even though you’re reminded of the latter’s mannerisms in a few scenes, Satya still makes his character unique in his own way. One can argue as much as he wants about the film being a remake, but you can’t complain about Satya Dev’s effortlessly good performance.

Having made a solid impression with his award-winning first film C/O Kancharapalem, it was slightly disappointing when it was announced that Venkatesh Maha’s second film will be a remake. But the young filmmaker impresses with Uma Maheswara Ugra Roopasya, and goes on to prove that he has a better understanding of the rural setting that most of his contemporaries. There’s something beautiful about the way Maha uses the setting in his films to elevate the viewing experience. If it was Kancharapalem in his first film, it is Araku in Uma Maheswara Ugra Roopasya.

Bhanumathi And Ramakrishna: Mature Love Story

Bhanumathi And Ramakrishna Review

Director: Srikanth Nagothri

Producer: Yashwant Mulukutla

Release Date: Fri 03rd Jul 2020

Actors: Naveen 𝙲𝚑𝚊𝚗𝚍𝚛𝚊

Bhanumathi And Ramakrishna Review:𝚜𝚑𝚎𝚔𝚑𝚊𝚛 𝚛𝚊𝚓

Bhanumathi And Ramakrishna starring Naveen Chandra and Salony Luthra released today directly on Aha. Let’s see whether the film is worth-watching.

Bhanumathi And Ramakrishna Story Review:

Bhanumathi (Salony Luthra) and Ramakrishna (Naveen Chandra) working in same office are poles apart in nature. While Bhanumathi is modern and egoistic who broke up with her boyfriend after being in relationship for five years, Ramakrishna is a simple guy with positive attitude. How love blossomed between these two different people?

Bhanumathi And Ramakrishna Artists, Technicians Review:

Srikanth Nagothri has come up with a story on relationships. Sensible writing and mature taking makes it a decent watch. From picking suitable actors to getting desirable outcome from all the technicians, he’s done fabulous job. Shravan Bharadwaj’s background score is cool and breezy, wherein songs were okay. Cinematography by Sai Prakash Ummadisingu is spotless. Kshanam and Krishna And His Leela fame Ravikanth Parepu’s editing work is passable, though the transition of scenes was jerky at places. However, 92 minutes runtime is idyllic for the concept. Production values are good.

Onto artists, Naveen Chandra was apt in the role of an innocent guy from Tenali who is positive in his approach. True to the character, he made sure looking to be a village guy with no deleterious thoughts. He has come up with a settled performance. Salony Luthra isn’t beautiful, looks wise. But, she’s appropriate in the role of a modern girl with individual mentality. The duo make perfect couple on the screen. Raja Chembolu is cool as Salony’s ex-boyfriend, wherein Viva Harsha got a meaty role. He provides some comedy here and there.

Bhanumathi And Ramakrishna Review Advantages:

Sensible Writing

Lead Actor’s Performance

Cinematography

Bhanumathi And Ramakrishna Review Drawbacks:

Slow Paced Narration

Climax

Bhanumathi And Ramakrishna Review Rating Analysis:

Coming of age romantic entertainers are best sellers of late. Bhanumathi And Ramakrishna also falls under the category. Though the narration was tad slow, mature writing makes it a decent watch.

The initial portions are meant to describe the character of Bhanumathi played by debutante Salony. She’s stubborn, big-headed and leads life on her own terms. Unable to cope-up with her, boyfriend too call it quits to end the five long year irrational relationship. When she’s trying to come out of the post break-up stress, she meets this nice guy whom she initially hates him.

The conversations were simple yet meaningful. Hyderabad-Vijayawada-Tenali trip makes them understand each other. Salony’s effort to reunite Naveen with his sister who is away from the family after love marriage is one of the best parts.

After a point, the narration turns bit slow, though we hardly feel bored due to good writing. Most of the scenes that featured Viva Harsha were humorous. Naveen’s intervention in Salony’s old relationship doesn’t look sensible because he too has feelings for her and she never tells him that she’s still missing him. The hurried climax is a big drawback of the film.

All in all, Bhanumathi And Ramakrishna is a onetime watch film. Those who love slow paced love stories will enjoy the film. But, commercial movie lovers may not love the film much. OTT release is a smart choice,

Bulbul review A powerfully feminist propaganda not worked. Problematic

The director – Anvita Dutt
cast – Trupti Dimri, Rahul Bose, Avinash Tiwari, Parambrata Chattopadhyay, Paoli Gama

Over-directed but underrated, Bulbul is a visually impaired film that is shunned by a weak script.

From debut cant director Anvita Dutt (whose track record as a dialogue writer includes not only the runway hit Queen, but also Shaandaar, Kambakht Ishq and Housefull), Netflix’s Bulbul is the second streaming film of the month, featuring Amazon’s Gulabo Sitabo Is after, which is set inside the foreboding mansion. But when the dignified ‘Haveli’ in Shoojit Sircar’s film kills his life, one of Bulbul, like the film, cannot help but feel artificial.

As an industry, Bollywood has been famous for producing good horror cinema, with odd exceptions, certainly. In fact, horror in India is paired with other genres such as music or romance – ghosts, which, you see, should not suit the box office potential of films. So for Bulbul wholeheartedly embracing its gothic horror origins – it’s the palace of Kamal Amrohi through Guillermo del Toro’s Crimson Peak – is rather refreshing.

In 1881, a girl named Bulbul, starved of horror stories, is married into a wealthy ‘zamindar’ family. In a deep move it is revealed that her husband is not the boy Satya, with whom she has formed a quick friendship, but rather Satya’s sinful-looking elder brother Indranil, Thakur, played by Rahul Bose. Thakur has a twin Mahendra, who is challenged by Vikas and is married to a woman named Binodini. Destiny forever sentenced her to play second Bella for Bulbul in the house, who is deeply upset by Binodini, the ‘little daughter-in-law’.

Established characters jump 20 years into films in the future. Sathya, returning to ‘Haveli’ after studying law in London, is informed that a series of mysterious deaths have occurred at a time when he has been away. The villagers believe that it is the work of a witch who hunts the surrounding forest. Satya, in Jonathan Hacker mode, dismisses the claims as stories of older wives.

But a lot has changed in the years that Satya has gone. His brother Mahendra is killed in his sleep, and his second brother, Thakur, has disappeared. Bulbul, meanwhile, is no longer the feisty girl he used to be; She has now fully embraced her life as the ‘Thakurine’ of the house, who stays on the seties all day, fed paan and sorbet, yet sheds a fickle and precarious self-reliant energy.

It doesn’t take a genius to put two and two together, but Bulbul certainly treats his audience as if this is the first film he has seen in his life.

Avinash Tiwari and Parambrata Chattopadhyay still from Netflix’s Bulbul.

Because the characters are so thinly written and the surprises are so careless that Dutt’s film is forced to rely more on technical details. For example, it was wonderful to explore the character of Binodini with more patience. He is an interesting foil for Bulbul; Entangled rather than self-reliant, empowering.

Due to the red glow of a blood moon, the nightly scenes at Bulbul are undeniably gorgeous, apart from a couple of noticeable examples where cinematographer Siddharth Dewan’s camera basically breaks the character, and Charming handmade records its otherwise presence in favor of mayhem. It simply does not gel. You will also notice it.

Bulbul also features a lush, orchestral score by the great Amit Trivedi, which evokes memories of his brilliant (but if sincere works) in Vikramaditya Motwane’s Marauder. In a way, there is a tension of melancholy that runs through both films, and Trivedi is able to capture it.

But employing an unnecessarily non-linear narrative becomes an exercise in futility, as almost every turn can be seen coming from a mile away. And because the film is so deliberately planned, Dutt regularly finds himself drowning in style more than substance, his script devoid of effortlessness.

Rahul Bose still from Netflix’s Bulbul.

Some scenes involving violence against women in particular are portrayed suspiciously. Instead of provoking anger, or even repulsion, by shooting the first scene in a stylistic slow-motion that shocks Zack Snyder into ecstasy, Dutt inevitably distracts the audience’s attention from that scary scene. Who is revealing her and in turn turns her towards her impeccable beauty. Frame. The second scene, involving a rape, lasts longer along the way, as there is no reason for it. It plays into the (problematic) trope that in order to bloom, a woman must first (violently) break up. There is a reason why the rape-revenge subjugation of horror is considered outdated.

By knight reviews

Kappela The performances have added an extra glory to the already shining jewel.

It's about a simple girl from a small village who goes to meet a stranger with whom she has been talking since a few days after she calls him by mistake. She going there and meeting him forms the rest part of the story.

Kappela is one of the most enjoyable movies of the year 2020 and it should not be missed by any movie geek. Directed by Muhammed Mustafa, the film is an enroute into the mishmash of human psyche. Shot within the scenic locations of Wayanad, the camera focuses its sweeping images through the greenery of the grass to the warmth of the oceanic blue. The plot begins with the simpleton life of a young girl named Jessy (Anna Ben) and the intricacies that follows her insignificant life within a village sphere. Anna Ben is remarkably excellent in her role where we feel she lives through the character Jessie rather than playing it out. The simple wonders of Jessy’s  life around, a sweetened romance that blossoms and the complexities that encompasses her young mind is what follows as the thread of the storyline. 

While the first half deals more with the character Vishnu played by Roshan Mathew, the second half filters more into the character of Roy played by Sreenath Bhasi. Jessy stands out to lead the entire plot from the beginning to the end without losing a single array of its form and structure which fixes her character to the plot. The first half plods slowly with its own exquisite delicacies while the second half sets ready to throw its own tantrums in multiple ways. 
The direction can be called as impeccable as the story is tight packed with no extraneous chapters glued with. The well packed story has been portrayed in the most convincing manner and the characters could merge with a realistic scene that fills us the aesthetic bend of the audience psychology. Though not based on an uncommon theme, the plot has been well conceived and deserves a remarkable applause. The layers of contradictions that lie within human mind is in fact the crux of the story and the gray areas of being a protagonist and an antagonist has been well articulated in the movie. The serenity of relationships and the bruises of conflicts along with virtue overpowering through vice, turns out to be the platform on which the movie builds its pace. 
Though not a thriller, the movie sticks you to the edge of your seat as perplexities blow up and thuds hard on your chest. The background score was perfectly suitable for the theme it upheld with the buds of agony and suspicion growing around. The most beautiful part of the movie is where it has been able to drive home the fact that the general perception we hold onto cannot always trail smooth as human mind is unpredictable. 
Roshan Mathew goes one step ahead of his usual romantic perfection and has matured into a real actor in this movie. He has handled his role by blending into the veracious nuances of the character Vishnu. Sreenath Bhasi, who is more a veteran in handling comedy had filtered in another testimony of the variations of character sketches that he can handle convincingly. The cinematography of the movie done by Jimshi is beyond description and the very last scene stands as a proof for his finesse and perfection with which the entire frame runs. 
The movie is a well-crafted one with convincing characters, depicted in the most reliable form. This is one of the best movies of the year without much furore and ruckus where it contours the lines of simplicity, plurality of themes as well as its didactic methodology. Beautifully scripted, well-crafted and executed in the most brilliant way, this is a must watch. 
If you miss this movie, you will definitely miss one of the best movies of the year. This movie is a must watch. Go ahead without a pinch of doubt.
By knight reviews

Choked Movie Review: bharat mata and current government Hits Middle 'Note'

Film: Choked, Paisa Bolta Hai
Review: sekhar raj
Cast: Saiyami Kher, Roshan Mathew, Amruta Subhash, Rajshri Deshpande, and others
Director: Anurag Kashyap
Release Date: Jun 5, 2020
Platform: Netflix. 

Sarita (Sayami), a bank employee, resides in a middle-class apartment complex in Mumbai. She is the sole breadwinner of the house of three (her husband and a son).

Her jobless husband’s debts and shattered dreams of becoming a singer make her life dull.

When things turning dreary, she finds a pot of luck: a secret source of income in her home due to a drainage pipe leak.

Rupee notes rolled in plastic sachets, which were stored by the upper floor tenant, pop up from the drainage leak. She stores all those notes and clears debts.

Has this changed her life or brought more problems?

Analysis
Anurag Kashyap’s OTT movie "Choked: Paisa Bolta Hai" is the story of a middle-class housewife. Set in Mumbai in October 2016, the story hits right ‘notes’ till the middle portion.

Depicting the life of an ordinary bank employee and her struggles to clear the piling debts, Anurag Kashyap paints a realistic picture of the Mumbai dwellers and their lives. There’s a beauty in mundane things.

Despite the growing gap between them, the husband and wife still share warmth. Kashyap and the story writer set up the drama nicely.

As the announcement of demonetization, the film takes an unexpected turn from a story of middle-class husband and wife to a satire on ‘note ban’.

The announcement of demonetization - We have decided that the 500 rupee, and 1000-rupee currency notes presently in use will no longer be legal tender from midnight tonight – by PM Narendra Modi comes exactly at 55 minutes after the film and the movie focuses on the things that we had witnessed – serpentine queues at the banks, middlemen enchasing the crisis.

“This is a chance of a lifetime. Once in 50 years such incidents happen,” a broker tells Saiyami Kher asking her to deposit old notes in her bank and take a commission for doing it so. Anurag has portrayed many such close-to-real-life sequences in the film. 

However, the film turns into a dull affair after this moment. It turns ineffective after that. 

It has its many moments to praise about but the satirical portion of demonization lacks sharpness. It turns sloppy at times as well. 

The film boasts good performances and especially it is Saiyami Kher’s show from start to finish. In the role of Sarita is excellent, she brings life to the character.

Her body language and expressions are perfect as a Marathi middle-class woman. Roshan Mathew as Sushant Pillai also plays the role well. 

The cinematography and the production design is topnotch. The story takes place mostly in a cramped apartment room and the camera brings authenticity and also the chocked feel. The colors are warm. The music is okay. 

“Choked” is quite a departure from Anurag Kashyap’s regular style of narration. The director known for his aggressive style lets the story take center stage. This is his restrained work.

On the whole, “Choked” is a mixed bag. The initial hour is excellent but it gets disconnected after that but makes a decent watch and a good satire on note ban.

Bottom line: Money Game

By knight reviews

Palasa 1978 Review: Raw and Rustic.

Movie: Palasa 1978
Review:sekhar raj
Banner: Sudhas Media
Cast: Rakshit, Nakshatra, Raghu Kunche, Thiru Veer and others
Music: Raghu Kunche
Cinematography: Arul Vincent
Editor: Kotagiri Venkateswara Rao
Producer: Dhayan Atluri
Written and Directed by Karuna Kumar
Release date: March 6, 2020.

From the last few months, ‘Palasa 1978’ has successfully generated buzz with several celebrities heaping the praise and Allu Aravind handing over an advance to the movie’s director for his second film. The film’s trailer has also looked quite promising.

Let’s find out whether the film has lived up to all the buzz.

Story:
1978. Mohan Rao (Rakshit) and Ranga Rao (Thiruveer), two brothers from a Dalit family in Palasa, working as workers in a local cashew nuts factory, are known for their artistic talent – folk singing.

When they face caste discrimination, they take up the sword to revolt against the owners. But they cunningly make a peace with the brothers and wait for the right time to strike back.

How Mohan Rao’s life turns volatile with the path he has chosen is all about the movie.

Artistes’ Performances:
The film has mostly newcomers playing the lead roles. Rakshit as the main hero is just okay. Tiru Veer as Ranga Rao shines in his role. Raghu Kunche as the villain is impressive. 

Technical Excellence:
The cinematographer and art director have succeeded in recreating the 80’s of the Srikakulam region. The background score has worked well. But songs don’t ring much. Editing should have been sharper.

Highlights:
Realistic approach
Climax portion
Engaging first half

Drawback:
Uneven narration
Second half

Analysis
Perhaps taking inspiration from Tamil directors like Pa Ranjith (‘Kabali’ and ‘Kaala’), debutant Telugu director Karuna Kumar presents the theme of caste oppression and Dalit revolt in ‘Palasa 1978’. The first thing that we notice in ‘Palasa 1978’ is its raw narration that we generally see in Tamil movies. 

The poor rustic conditions, the dialogues filled with uncensored words, the caste politics, the actors who look like the villagers of the bygone era… such an environment we see in realistic movies of Tamil cinema, where glamourous strappings have no room.

“Palasa 1978” has also similarities with “Rangasthalam” but this one wears a Dalit theme on its sleeve from the beginning of the movie.

Like “Rangasthalam”, it also has brother-sentiment and revenge element. But this is more about caste discrimination and urges all Dalits to take up studies seriously.

The director has also established the fact that the politicians use Dalits as pawns in the games of power. And the rich and powerful cannot be defeated easily thought the means of the judiciary in our present system is subtly told. 

However, the film also has drawbacks. It turns monotonous after a while. The second half loses the grip. Plus, the romantic track between hero and heroine is quite bland and artificial.

The overt stress on the aspect of women going into the fields with ‘lotas’ is off-putting. Also, it has more of a documentary approach.

But this is not a regular commercial film. ‘Palasa 1978’ is a film with a limited appeal, and it is for the discerning audiences who like realistic approach. 

Bottom-line: Voice Against Discrimination

By knight reviews

'Gulabo Sitabo' Movie Review: A Moral Tale!

Movie: Gulabo Sitabo
Cast: Amitabh Bachchan, Ayushmann Khurrana, Vijay Raaz, Gyanesh Shukla 
Screenplay: Juhi Chaturvedi
Music director: Shantanu Moitra
Producers: Ronnie Lahiri and Sheel Kumar.
Director: Shoojit Sircar
Release Date: 12 June 2020
OTT Platform: Amazon Prime

Review-sekhar raj. 

Bollywood acting legend Amitabh Bachchan and the current in-form star Ayushmann Khurrana have teamed up for the first time for "Gulabo Sitabo".

Directed by Shoojit Sircar of ‘Vicky Donor’ (2012) and ‘Piku’ (2015) fame, the film is written by Juhi Chaturvedi.

‘Gulabo Sitabo’ is the big Hindi release to debut directly on the OTT platform and no wonder that the buzz around the film has been high.

Let’s find out whether it lives up to the buzz.  

Story:
Mirza (Amitabh Bachchan), the husband of a Begum who owns Fatima Mahal, a dilapidated mansion in Lucknow, is greedy of money.

The 78-year-old Mirza is waiting for the death of his wife to become the true owner of the mansion and also trying to kick out the tenants of this century-old mansion.

But one of the tenants Baankey Rastogi (Ayushmann Khurrana), who doesn’t even pay the paltry rent of Rs 30 per month believes he’s also owner because they have been living there for years.

Mirza approaches a lawyer to vacate the tenets. Meanwhile, an archeologist tries to declare it as a heritage property. The drama of the battle of ownership begins. 

Artistes’ Performances:
Amitabh Bachchan’s acting is the pillar of this film, he gives a smashing performance. As a 78-year-old hunchbacked and cantankerous old man, Amitabh’s getup is perfect. Amitabh has changed his dialogue delivery to suit the role for more effectiveness. It is more of Amitabh’s story than the Ayushmann’s and the veteran actor is a hoot.

Ayushmann gives a decent performance. 

Shrishti Shrivastava as Ayushmann’s sister Guddo is a scene-stealer. Her character is the only one that has a modern touch in this film. 

Vijay Raaz as an archeologist, Brijendra Kala as a lawyer, and Farrukh Jafar as Begum also need special mention. 

Technical Excellence:
Cinematographer Avik Mukhopadhyay captures the mansion sequences and the Lucknow city meritoriously. The editing is the major issue.

The pace of the movie (screenplay and editing) is a huge minus. It needs a lot of trimming. Music also doesn’t lift the film at all. The makeup artist needs praise for the prosthetic work.

Highlights:
Amitabh’s performance
Last 15 minutes
The Lucknow milieu 

Drawback:
Weak script
Slow pace

Analysis
Set in present-day Lucknow, ‘Gulabo Sitabo’ is all about greediness. It is satire. Writer Juhi Chaturvedi’s story which mostly revolves around the dilapidated mansion is thin but her central theme that people pine for objects than the humans is nice. 

Like the 100-years-old haveli, the main characters – Mirza and Baankey belong to the old times, they are in sync with modern times.

The greedy old man charging a rent of thirty rupees from tenants, the Begum buying an Indian sugar candy for the old man, the tenants scheming things to evade the paltry rent…… these prove that the occupants of this haveli still stuck in the bygone era.

Amitabh Bachchan's character doesn’t even know the value of the antique things he possesses. He gets a shock when he knows that his mansion is worth Rs 5 lakhs. Yes, 5 lakh rupees is 100 crores to this old man. He loves to possess the mansion, while his wife Begum married him for the sole reason of staying in this haveli, Baankey also doesn’t want to move out of this place. Everyone is connected with this aging pile. However, all these elements come out slowly, in an unhurried manner.

The screenplay writer reserves the surprises for the last act. Till then, the story progresses at a languid pace. Although it has a shorter runtime (2 Hr 4 Mins), the slow narration gives the impression that we are watching a long film. 

The battle of wits ensues between Amitabh and Ayushmann bring some laughs in the beginning but the repetitive scenes put off after a while. Plus, the comedy in the film is not explicit, the humor generates from the language, less from the situations. 

“Gulabo Sitabo” stands for two puppets – Gulabo and Sitabo. We first think that this title stands for Amitabh and Ayushmann but it is about Amitabh and his begum who pulls a surprise string in the last. The final act is really good. The film can watchable for this portion, as well as for its nuanced performances. 

Good central performances and the final twist make ‘Gulabo Sitabo’ make a watchable movie. The slow pace is a hindrance but those who like subtle satires may find it a decent watch.

Bottom-line: Old-style. 

By knight reviews