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Evandoi Srivaru

Cast: Srikanth, Sneha, Nikita, Sarath Babu, Chandra Mohan, Sunil, Venu Madhav, MS Narayana, Dharmavarapu Subramanyam, Krishna Bhagawan, Lakshmipati, Prabhu, Ramaprabha, Sudha

When most film directors cannot think beyond blood shot eyes, swords, axes, fights, factionalism and ketch up, there are a breed of directors like E. Satti Babu who just give clean entertainment with tons of joke. Sreekanth is a star who loves to be a part of such camps and has consistently given modest hit films that do not celebrate blood and gore as much as mirth and laughter, apart from love. When directors don't think twice before giving six lines, a few slaps and absolutely insignificant roles to the comedians there are directors who trust in the ability of the comedians to carry a film forward and assign them roles that bring out their hidden talents. The talented comedians reciprocate gratefully by giving their best and a chance to the viewers to experience their full repertoire of acting abilities. For instance, in Pournami the comedian Dharmavarapu Subramanyam gets exactly six lines. In the movie Evandoi Sreevaru, Dharmavarapu who is a comedian par excellence has several scenes centering on him. He along with another comedian Krishna Bhagwan brings the house down with their physical problems of hearing difficulty and night blindness respectively. Evandoi Sreevaru also has M S Narayana, Venu Madhab and Rama Prabha. Add to that the comedy of Sunil who looks funny when he is joking and funnier when he is being serious, and you have a riot of a movie. Sreekant and Sneha also join the party occasionally.

Only the audience stands to gain with a profuse secretion of endorphins watching Evandoi Sreevaru.

Comedy is given so much of importance in Evandoi Sreevaru that the director purposely mixes comedy scenes when the movie gets heavier with emotions (i.e. when Sunil cries). All the cast have done their bit to give a thoroughly entertaining movie. Sarath Babu takes a hiatus from his TV acting and portrays the character of a father to perfection. So much so that not a single twitch in his face is out of place during any of the scenes that he faces the camera.

From the beginning of the film where all the characters that are residents of an apartment are introduced, to the end, not a single scene fails to entertain. Only the songs are average. Otherwise Evandoi Sreevaru is a laugh riot and a thorough entertainer. If the love and dance scenes of M S Narayana and Ramaprabha are a scream, the dilemma of Sarath Babu is grave. With love, romance, tragedy and laughter this movie is a potpourri of scenes that is definitely enjoyable.


Cast:  Allari Naresh, Madhu Shalini, Geetu Singh, Brahmnandam, Giribabu, Sunil, Ali, Venu Madhav, Krishna Bhagwan, Chalapati Rao, Dharmavarapu Subramanyam, Mallikarjuna Rao, Jayaprakash Reddy, M S Narayana, L B Sreeram, Mada

 EVV, who has made movies like 'Hello Brother', 'Jambalakidipamba', 'Aaa Okkatte Addaku' gives an all time best Telugu comedy in Kithakithalu. In rare movies you find all comedians contributing their talent. His selection of Krishna Bhagwan as the sidekick of Naresh has paid off well, for Krishna Bhagwan is known to evoke laughter with a deadpan expression combining with perfect timing to deliver the dialogues. Sunil brings the house down with the brief appearance that he makes in Kithakithalu. The only complain you might have is: several comedians have very brief roles. When the movie is of 16 reels, has all the comedians in the industry in it, and when every actor tries to make you laugh, this is inevitable.

Apart from comedy the movie has a good script. 'Fat girls are sexy too' isn't the exact message Kithakithalu tries to send across. Through belly bursting comedy Kithakithalu tries to preach that a married person should be happy with his better half and should not hanker for beautiful babes. Fair enough. But the movie goes a step further and stipulates that even if the wife is obese and not up to the husband's liking in the first place he has to accept her if she has good character. Hmm. Traditional values, but very peaceful. The movie shows how straying can be disastrous in a humorous way.

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Cast:  Allari Naresh, Madhu Shalini, Geetu Singh, Brahmnandam, Giribabu, Sunil, Ali, Venu Madhav, Krishna Bhagwan, Chalapati Rao, Dharmavarapu Subramanyam, Mallikarjuna Rao, Jayaprakash Reddy, M S Narayana, L B Sreeram, Mada

If Mahesh Babu was cruising alone he has got company now. Pokiri has got competition in the form of Bangaram. Nothing to worry, Pokiri can afford competiton. Moreover, given the potential of both the movies and the enormity of the holiday crowd, both movies would run to packed houses for 100 days easily. If Devadasu, Happy, later Style and Lakshmi can almost, at the same, time run for 100 days why cannot Pokiri and Bangaram. The Prince and the Power star can both hold their own.

The audience was never entertained so thoroughly. With a series of well-made movies running for 100 days, the trend now has changed for better. People have started going to the theatres to watch a movie, instead of watching it on pirated CDs or waiting six months to watch it on TV.

It's happy times for both the filmmakers and the viewers.

Bangaram is an out and out action movie. There is not even a whiff of romance here. The pains that Pavan Kalyan had taken for the fight scenes of this movie, has paid off. Being a martial arts expert, he has used special techniques in the fight scenes. The breaking of bones seems very real.

Based on Kurnool brand of toughness, the movie uses the villainy of Ashutosh Rana. You cannot think of a better negative character actor than him for this movie. Comedy is low key in Bangaram.

What needs to be written about are the neat photography and novel direction used in the movie. Director Dharini doesn't kill the character Vinay (Raja) who is Sandhya's (Meera Chopra) lover, to pair her with Bangaram (Pawan Kalyan). She is the heroine of the movie and Pawan is the hero yet they are not lovers but just friends. That's uncommon in movies. Dharani dares to be different and succeeds.

And what needs to be experienced in the theatre because no amount of writing can convey the actual pleasure is the music of this movie. If the song 'egire chilkamma' soothes and sets your foot to tap the floor, 'ra ra bangaram' teaches the mantra of success as well as peaceful leaving.

In Bangaram, Pawan Kalyan proves that he is not hailed as the 'power star' for nothing.


Cast:  BalaKrishna, Sada, Tanushree Dutta, Shayaji Shinde, Prakash Raj, Rajan Dev, Ramaprabha, Brahmanandam, VenuMadhav, Kovai Sarala

The filmmakers have catered to the masses unashamedly, knowing fully well that if the movie goes down well with them then they get their returns. Praising the strength of the masses, using their lingo and of course tossing reasoning to the wind, Veerabhadra attempts to capitalize on family sentiment. While the attempt at glorifying family values is commendable, what's unpalatable is: the absolute dramatization of each and every scene. You are conscious every moment while watching the movie that you are in a theatre watching a drama on celluloid. Veerabhadra is strongly recommended for people who would like to have a good laugh at the theatrics of Balakrishna or people who like to learn exemplary family values.

In Veerabhadra the hero and heroine sing songs simply because there need to be songs at certain intervals in the movie. The hero is more powerful because he out-shouts the villains. The villains commit crimes that have not been committed so far and unheard of, like sub inspectors shooting a DCP of police in his office in the police head quarters and no one even bothers to find out what the gun firings are about. We knew till now that things happen in movies, which are a little absurd sometimes. But in Veerabhadra anything happens.

Some of the dance movements are quite quixotic. Balakrishna tries to be hip by wearing trendy clothes but the sense of decent dressing eludes him.

All said and done the movie is about a man who can give his life for his sister and family. Working class people who would not dwell much whether things shown in the movie are absurd or not would love it. Who cares if the IG of police kills three constables in front of a dozen people simply because they were on the payroll of the hero? It's a Balayya movie after all.


Cast: Mahesh Babu,Ileana,Prakash Raj, Shayaji Shinde, Ashish Vidyarthi, Nassar,Ali, Bramhanandam, Venu Madhav, Subbaraju, I.J, Jyothi Rana and Sudha

Mahesh Babu's character is that of a professional killer who speaks softly, directly and acts swiftly. Mahesh Babu dons the role with practiced ease. Shayaji Shinde, Prakash Raj and Asish Vidyarthi are seasoned actors who understand the nuances of acting and the demands of the roles pretty well. While Asish Vidyarthi and Prakash Raj are at their menacing best, Shayaji Shinde shines as a media bashing sincere police officer. Puri has given a lot of footage and clarity to their characters in Pokiri to extract the best from them. Here is a sample of Puri's directorial genius. It's a fight scene. Mahesh Babu lands just one solid punch on the face of Prakash Raj. The impact is so profound that Prakash Raj becomes totally disoriented as well as loses his sense of hearing for a brief moment and hears nothing but a continuous high-pitched buzzing sound at a low volume. The auteur shows this by switching off the sound track and the audience only hears the same buzzing sound that Prakash Raj supposedly hears; the camera all the while focusing on a panicky, clueless and disoriented Prakash Raj as he tries to figure out desperately what's going on around him. The audience experiences the character's sense of disorientation completely. That's trend setting direction for you. We will definitely see the act getting repeated in movies to come.

There is a scene in a station involving Ileana and Mahesh Babu where the later wants to eat the Upma from the former's tiffin box that reflects the longing of a man to be close with the woman he loves. Watch out for that scene when you see the movie. Love and craving for togetherness finds expression on a platform via the tiffin box much like it happens in real life.

If art reflects society then the violence in the movie is justified by the violence present in the society.

The only thing that Puri can be accused of is the under utilization of 'Ileana - the curvaceous'. Ileana should have been given more footage to add more meat to the movie with her depth of dulcet emoting. With just good songs the movie may face some competition from Bangaram, which have better songs. Yet at the end Pokiri would win and can hold it's own for 100 days.

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