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Credits

Jeevi Rating: 4.5/5 (Four and Half)
Genre: Love
Cast: Pawan Kalyan & Bhumika
Music: Mani Sharma
Fights: Pawan Kalyan
Photography: PC Sreeram
Costumes: Renu Desai
Story, Screenplay & Direction: SJ Surya
Producer: AM Ratnam
Theatrical Release Date: 27th April 2001
Review

Story

This film stars with showing the births Siddhardha Roy (Pawan Kalyan) and Madhumita (Bhumika Chawla) in Kolkata and Kaikaluru respectively. They grow up and the scene changes and this couple are of 20 years old now. Siddardha Roy, who is fondly called as Siddu, is all set to go to Canada after securing the admission for doing his MS. On the other hand, Madhumita, who is fondly called as Madhu, is all set to engage a guy whom her father has chosen.

But the destiny has other plans for them. Siddu meets with an accident and gets hospitalized. The guy with whom Madhu is supposed to get engaged elopes with his secret sweetheart. And Madhu and Siddu get an admission in the Nizam college of Hyderabad.

They meet each other and find that they have lots of things in common and are made for each other. But there is one catch. They want others to express the love to them than expressing themselves.

One fine evening, during exams time, this couple wanted to do combined study. As Madhu is reading a book on 'Internet', our Siddu joins her with a book on 'Cobol'. Madhu is sensually dressed with a black transparent saree which made Siddu voyeur at her novel which gets exposed due to the breeze of air. Madhu gets suspicious and realizes that Siddu is ogling at her novel, in deed. She asks him about what he is doing and he denies the act of ogling at her. A small issue gets blown out of proportion and their inflated ego takes over their hearts and they decide that they are no more friends. They do not share any relationship.

They are brought back together as Madhu's best friend Lakshmi and Siddu's best friend Babu are in deep love and Lakshmi's father Gunduba Satti threatens Lakshmi of dire consequences if she continues her relationship with Babu. Madhu and Siddu decide that though they are united to save their friends, they individually share no relationship.

They marry off Lakshmi and Babu. As told by a background voice in the biginning of the film, it is sure that Siddu and Madhu are going to marry each other. But the most exiting thing is about this film that the turn of events they have gone through.

You must watch this film on a big screen with DTS effect to experience this amazingly essayed celluloid poetry.

Performances:

Artists:

Pawan Kalyan: "One-Man-Show" is the apt word that describes the role of Pawan Kalyan in this film. He has shown finesse in each and every department. Be it dialogue delivery, fighting, singing or dancing. This film has four fights, which are extraordinary. And the specialty of these fights is that Pawan Kalyan himself composes them all. They are very real and pretty powerful. The dialogue delivery and modulation of Pawan Kalyan is impeccable. So are the dances in this film, which are done with lot of grace.

Bhumika Chawla: Bhumika is very cute in this film. She matched Pawan with her performance.

Technical Departments:

Screenplay & direction: SJ Surya, who made a terrific film Vaali in the past, has come up with another winner this time. There is no story in this film. The whole 2 hours and 45 minutes of this story runs with a neat screenplay. He has done an extraordinary job as screenplay wright.

Music: The rerecording of this film is excellent and event the minute change of expression on the face of the actor is synchronized with the superb orchestration of background music in this film. Songs of this film are very good.

Dialogues: Rajendra Kumar's dialogues, which are pretty comedy oriented, make the viewers giggle all the time.

Songs: In addition to the six songs below, there are two other English straight songs for which Pawan Kalyan has done ultimate dances. One of that being the Macerena song that comes after the movie is over as a backdrop to the credit titles

* Ye Sarah Jahan: This song comes as an introduction to Pawan Kalyan and his Good Samaritan attitude of respecting the country and citizens and bashing up the evil elements. This song in shot the streets of Kolkota.
* Premate: This song is shot in the luster locales of New Zealand.
* Ammaye: This is another highlight of the film, which is shot in the sets erected.
* Aaduvari Matalaku: This is the cutest song of the lot in this film. Shot in the backdrop of luster locales, it shows Pawan Kalyan narrating the way women behave to his pet dog as Bhumika Chawla looks on.
* Chelia Chelia: This song of the film just happens when thing started to go right for the couple.
* Holi Holi: This song is a teaser for Bhumika Chawla that has Pawan and the vamp Mumtaj doing maverick dances.

Photography: PC Sreeram's work is another asset for the film.

Production: AM Ratnam, the uncompromising producer has compromised on some thing this time. Quality, that is. No wonder, this film has taken one year in making. AM Ratnam deserves another pat on his back for delivering another wholesome entertainer, a remade film this time.

Analysis: This film has 70% of comedy, 20% of songs and 10% of action in the backdrop of undercurrent love. Once, I started watching this film, I forgot about everything else and immersed myself in the inscrutable story that is unfolding on the screen. This film is an urbane one and has got all the ingredients the youth looks for. Pawan Kalyan is going from strength to strength and this is the best film done by him so far. The success of this film is unstoppable. But the magnitude of success of this film depends on how hardcore masses embrace this delicate urban youth film. Only the time will tell.

Tialpiece: I had to restrain myself from watching this film for the matinee again, as I had to rush to idlebrain studio to give you the review. I am jetting off to watch the film for the first show again, though!
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Here is the start of a series that throws light on some of the box-office failures that deserve to be ranked as some of the best movies of Telugu industry. With it, idlebrain.com want to highlight the efforts that went into the making of the movie, so that our current generation would never ever forget these long and forgotten gems.

Kshanakshanam

Follow up is the most difficult act after the initial foray. There is an inherent paradox with the follow up act. It has to adhere to the original path so much that any slight deviation from the original is instantly rejected and yet it has to stand out on its own to be treated, graded and rated on its own merits, lest it is judged as an encore to the original. On the lines of showbiz's famous saying "Dying is easy, but comedy is hard", it can said that "original is a breeze but follow up is a gale". Sighting of the Haley's comet, occurrence of the blue moon, following a stupendously successful Siva with an equally brilliant Kshana Kshanam are some of those that are usually held either in high regard or are treated with awe. That somebody could conjure up such an completely varied but equally entertaining act, was a testament to Varma's penchant for variety and willingness to go against the grain.

Road movies do not conform with the usual telugu film formula. The period within which the events take place, the rapidity in the plot and nature of urgency in the storytelling flies in the face of the standard Telugu film period where events transpire over years and conclusions are usually causal, over long intervals of time. The fact this genre wasn't attempted after Bapu's Bangaru Pichika (1968), until Kshana Kshanam, (with a little exception to Andala Ramudu (1973) by Bapu again) alone was indicative that Telugu audience wasn't quite receptive of this expedited mindset. The timeline, or lackthereof, which is often real life like and not ala reel life in a typical road movie, has events happening at break-neck pace with not much time splices allocated for real character development, which throws it in a boon/bane dilemma. The positive side being, the audience is more interested in the events that transpire around the characters and the situation that the characters are thrown than the characters themselves, and the flip side - the characters tend to remain one-dimensional with a aim-apparatus-procedure-conclusion modus operandi.

Borrowing the setup and the mood from Robert Zemeckis' Romancing the Stone, Kshana Kshanam had the same lead characters' mannerisms and approaches, funny, yet dangerous villain, his bumbling henchmen, the comic cops and its share of colorful peripheral characters. Treating these interesting characters in a straight-faced and a deadpan way, Varma lends enough credibility to the characters' motivations and prevents them from slipping fast into a typical comedy fare with an utterly ridiculous premise. The rapid but seamless transition between the action and the comic moods, the pacing of the movie - deliberately slow at parts in the jungle to establish the interplay and moving at break neck speeds while it hurries to a conclusion to heighten the tension, brings to sharp relief Varma's clarity in vision and command in execution. The age old clichés of Telugu cinema that beg to be mocked viz., hero's standard introduction via a fight sequence, his causes for choosing his lifestyle, his switch from rescuing the heroine from goons one moment to kidnapping her the very next moment, his pointing the gun at the villain threatening to slash heroine's throat and the like were turned on their heads and given delightful spins, making the audience consciously self-aware for having patronized those for so long. Subtlety was another key aspect of the screenplay. The characters were written so delightfully subtle that it was more a case of downplaying the usual heavy-handed emotions than underplaying the same. Where most of the Telugu movies indulge in some kind of morality play, Kshana Kshanam has roles that tread either side of the good/bad demarcation with equal ease, which make them more identifiable and endearing - the hero trying to make good of a once in a life-time score, the villain's distaste for an unnecessary loss of life, the villain trying to be more compassionate and understanding than violent and stubborn.

Technical aspects, the bar of which was raised to great heights with Siva, were unobtrusively brilliant through out Kshana Kshanam - be it as highly visible as S.Gopal Reddy's (who also co-produced) photography or as subliminal as Arun Bose's audiography. Gopal Reddy who had a great deal of success with Siva honed his craft even sharper with Kshana Kshanam. If the mood was somber, dark and menacing in Siva, it couldn't be anymore contrasting in Kshana Kshanam - cheerful, bright and normal. If he played with lighting a lot in Siva, he chose angling and thus framing in Kshana Kshanam. The other stand out aspect of Kshana Kshanam was the excellent background score of Keeravani. Brushing the equally fantastic tunes aside, Keeravani's carefully orchestrated re-recording was brought into full for(c)e within the first 15 dialogue-less minutes of the movie. The score for the climax sequence on the train which was grand, elaborate and rich, marked the successful passing of the mantle from Illayaraja, a peerless re-recordist in his era, to Keeravani.

Siva at first and Kshana Kshanam following suite, marked the beginning of auteuristic film making in telugu movies and Kshana Kshanam remained one of the best screenplays ever written in telugu. Though it can never be determined if this movie was way ahead of its time, Kshana Kshanam remained one of the best that could sustain the passage of time - the irony on the timeline notwithstanding!
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Credits
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Jeevi rating: 3.25/5
Punchline: decent entertainer
Genre: Action/Comedy
Type: Straight
Banner: Sri Lakshmi Narasimha Visuals

Cast: Ravi Teja, Trisha, Brahmanandam, Mukul Dev, Sayaji Shinde, Chandra Mohan, Sunil, MS Narayana, Venu Madhav, Sana etc

Music: Chakri
Cinematography: Chota K Naidu
Story - dialogues: Akula Siva
Action: Ram Lakshman
screenplay - direction: VV Vinayak
Presented by: Danayya
Producer: Kasi Viswanadham
Release date: 12 January 2008

Review

Story

Krishna Krishna (Ravi Teja) is a happy-go-lucky guy in Vijayawada. He falls in love at fight sight with Sandhya (Trisha) who visits from Hyderabad. Sandhya is the sister of Shinde (Sayaji Shinde) who is a popular builder and mafia man. Jakka (Mukul Dev) is another mafia don who wants to marry Sandhya against her wishes. The film is all about how Krishna puts an end to Jakka and marries Sandhya.

Artists Performance

Krishna Ravi Teja is extremely energetic in the role of Krishna. He makes sure that he introduces new antics with each of his new films. In this film too he made sure that he entertained the crowds. Trisha is good in the female lead and the dubbing done to her is also good. Debutant actor Mukul Dev is impressive. The man who steals the show in the film is none but Brahmanandam. He is extremely hilarious in certain episodes. Sunil is alright. Sayaji Shinde and Jaya Prakash Reddy are adequate. MS Narayana’s comedy thread should have been handled better.

Technical Departments:

KrishnaStory - screenplay - direction: Story of the film is an old fashioned one. The screenplay of the film is good. VV Vinayak who proved himself as a good mass director strengthens his grip on comedy with this film. The way he created episodes for Brahmanandam are praise worthy and he made sure that there is no boring moment in the film.

KrishnaOther departments: Music by Chakri is mediocre. But VV Vinayak makes those songs appear good with nice picturization. Cinematography by Chota K Naidu is excellent. Dialogues by Akula Siva are good. Action work by Ram Lakshman is adequate. Production values by Kasi Viswanadham are nice.

KrishnaAnalysis: First half of the film is breezy with nice mix of action and comedy. The second half’s graph goes down a bit during the flashback episode and pre climax scenes. But the director brought back the film on track with interesting climax by blasting a couple of fully-loaded lorries. The plus point of the film are comedy by Brahmanandam and Ravi Teja. VV Vinayak who disappointed us with his last film Yogi can have a sigh of relief now. On a whole, Krishna (the power of Indrakeeladri) is a decent entertainer.
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Krishnarjuna Telugu Movie
Krishnarjuna Telugu Movie
Krishnarjuna Telugu Movie
Krishnarjuna Telugu Movie
Krishnarjuna Telugu Movie
Krishnarjuna Telugu Movie

Krishnarjuna was rumored to have been inspired from Bruce Almighty starring Jim Carrey. But the movie contains just one idea, if that, from the Hollywood production including the styling of God played by Morgan Freeman (and Nagarjuna in this). For those who watched the original and expected humor, entertainment and a subtle message in it will be disappointed. For those who saw the posters and expected humor, entertainment and Nag-Vishnu combo to rock will be totally disappointed.
Plot

Arjuna is born in a temple with his mother succumbing in labor. The villagers believe that to be impure so they close the temple. He and his grandmother serve a family and make a living. His job is to look after Satya, the college-going arrogant sister of his employer. She gets a suitor, Prem, but an astrologer reads her birth-charts and predicts doom for her husband. So Arjun is made the scapegoat and is wedded to Satya. There is no bliss, in contrast, the family harasses him so that he dies and Satya can marry Prem without a glitch. When his grandmother dies unable to tolerate the situation, he tries to follow her. But God intervenes.
Story Screenplay and Direction

The cool quotient generated by God in a dashing white suit is all lost because of the predominance of superstition in the movie. The slow first half is justified if the second half, after Nagarjuna's entry, had been any better. Unfortunately it's not. The introduction scene of Nagarjuna is the similar to Morgan Freeman in the original, but that's where the similarity ends. But instead of going uphill from there, the narration falls flat.

Most of the first half is spent in showing the harassment that Arjun and his grandmother tolerate from Satya's family. A little vulgar 'humor' comes in the form of Brahmanandam, who plays an astrologer and his voluptuous wife. Go figure. Then we have Mamta Mohandas with a haughty expression wearing corsets and mini-skirts in some town/village (why???). Her teeth-gritting suitor and that whole track trying to open the temple door just drags.

The scenes showing Arjun's unwavering dedication to Satya's family and the sentiment in scenes featuring Manorama works. Nagarjuna's appearance and Mohanbabu as a Fakir are impressive. Other than that, the direction and script are weak, and so are the performances as a consequence.
Performances

Vishnu looks the part, but the emotional scenes lack conviction. He could do with a NTR-worthy makeover. The charm that one saw in Dhee is totally missing, and so is the energy level. Nagarjuna perks up the movie a little bit, stopping it from going completely downhill. But his scenes could have been executed so much better. Still, he makes a good God. Mamta Mohandas sings well and has a good figure. Acting skills are so-so. Manorama is convincing, as is Mohan Babu's cameo.

Song and Dance 'Buggalerrabadda' and 'Yamaranju Meeda' stand out in an otherwise disappointing compilation by Keeravani. Ditto with the picturization.

Last Word Disappointing direction from P. Vasu. All major aesthetic and commercial elements, from narration, performances, music, romance and humor suffer as a result. The saving grace if any is Nagarjuna's role, two tracks and a little of the sentiment and faith in the other protagonist's character which works to an extent.
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Kondaveeti Donga(Telugu: కొండవీటి దొంగ) is a film starring Chiranjeevi which was a massive hit when it was released in 1990. Engaging and with a social cause at the same time, relating to both masses and classes, Kondaveeti Donga remains one of the best movies in the telugu film history.

Credits

Release date: 9/3/1990

Banner: Sri Vijayalaxmi Art

Lead: Chiranjeevi, Vijayashanti, Radha

Producer: T Trivikrama Rao

Director: A. Kodandarami Reddy

Music: Ilayaraja

Dialogues: Yandamuri Veerendranadh

Camera: V S R Swamy

[edit] Box-office perfor