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Ghanchakkar Movie Review

After delivering two critically and almost-commercially successful films in the form of ‘Aamir’ and ‘No One Killed Jessica,’ director Rajkumar Gupta is back with the whodunit comic thriller Ghanchakkar. This is a change in terrain for Gupta, and going by the lack of humour in his earlier two films, Ghanchakkar is a surprising move. Vidya Balan is back after a whole year too.

Story: Sanju (Emraan Hashmi) is coaxed into committing one last robbery by two other robbers – Pandit (Rajesh Sharma) and Idris (Namit Das). They successfully carry out the robbery and decide to meet after things have cooled out to distribute the money. Sanju meanwhile has an entertaining brash anomalous Punjabi wife Neetu (Vidya Balan) who likes to get dressed up in the most outrageous outfits. When Pandit and Idris come back to get their money, Sanju refuses to recognize them because he has developed retrograde amnesia. The search for the money then forms the rest of the story.


Direction: Much was expected from Gupta, and to a certain extent he delivers what was expected from him. The layered nuances, the funny characters with bizarre mannerisms are meant to tickle your funny bone. But Gupta fails in taking the commencement of such a promising story to a satisfying ending. The funny sequences are not as laugh out loud funny, as the premise promised. Gupta’s direction, even though it’s technically sound, is let down by the screenwriters who run of creative ideas for the last one-fourth of the film and allows Ghanchakkar to become a rubble. Having said that, Gupta’s ingenuity comes across in a few of the film’s sequences – the bank robbery scene being the high point of the film.

Miscellaneous: The camera work is smartly done. It captures the narrative without any stray elements. The production design is also appropriate. The costume design is the highlight of the film because Vidya’s preposterous clothes manage to catch your attention. The editing lags behind a bit and isn’t able to keep up the pace and sadly makes the film slower than it should have been.

Music: Amit Trivedi, the master musician, is not at his best. That is not to say, the music is sub-par. It’s just that a lot more was anticipated from Trivedi. A few songs are catchy for sure – Lazy Lad, Jholu Ram and Ghanchakkar Babu. But the resourcefulness that is the trademark of an Amitabh Bhattacharya – Amit Trivedi collaboration is in low doses in Ghanchakkar.

Acting: Emraan Hashmi delivers a stirring performance in the film as the lazy, always tired Sanju who struggles with his own memory. The frustration in Sanju’s life was easily blatant in Hashmi’s performances. Vidya Balan’s cleavage provides more funny moments than she does in Ghanchakkar. Her clothes make a bigger noise than her performance. Her punjabiness is mostly limited to her “Hain?” and words like ‘bhrosa’, ‘treeq’, ‘galt’ instead of bharosa, tareeq and galat. But the director is to be blamed for most of her onscreen mannerisms. Rajesh Sharma and Namit Das are perfect as the two thugs desperately in search of the money they looted. Rajesh is witty and authentic as Pandit, and Namit is naively downbeat as Idris.

Conclusion and Box Office Potential: The film has its moments, and some funny sequences but the culmination of everything that happens prior to the climax is destroyed by the slapdash climax. Such a capable plot gets ruined by barren writing. The producers (UTV) are sure to recover their investment, but the climax is not going to sit well with the Indian audiences. Lifetime business of 50 crore looks like a difficult target but not unattainable.

 Moksha Movie Review
Chubby and cute. That's Meera Jasmine for you. What, if she were to be cruel also? Say, like a blood-sucking vampire! Phew! She'd get your goat. And you'd run for cover. The others had no chance.

Moksha (Meera Jasmine) is a pampered girl. Her father, single after her mother's death, dotes on her so much that he will not even accept her step into the kitchen. Or even step out of the house, as we see later. The only time she seems to step out of her flat as her neighbour Srinu (Rajeev Mohan) observes is during the night.

Srinu's friends rag him at college and there's a vamp who tries to cling on to him. Instead, Srinu prefers the vampire - not knowing that only human blood can satisfy her thirst and hunger. Meanwhile, there are mysterious murders in town. There's no clue to the serial killings which happen at night. No, the killer isn't Moksha.

Moksha hardly talks but she infuses confidence in Srinu as their friendship gets stronger. The timid Srinu gives his college mates a taste of what he can dish out if he were to get real angry. No, Srinu does not use that knife is secretly carries in his college bag and does not kill.

But who is behind those mystery murders? You'd have to wait until the interval and the chilling fact is revealed. Moksha's father, a security guard (Nassar) is the killer on the prowl. He kills and Moksha sucks the blood of the victim. On one occasion, he's caught and the victim he is after, throws acid on his face. Death is inevitable. Moksha does not hesitate to even kill her father, at his own request, and suck his blood.

How then does the loving daughter turn into a vampire and still be a human? Director Srikanth Vemulapalli makes Moksha herself narrate her tale to Srinu who now realises with whom he had developed such good friendship. It's time to take a decision about the girl he has innocently harboured in the house.

Forget the not so well framed shots at certain places in the movie and the repetitive scenes that do not add to the narration but the director has shown he can handle suspense the way it has to be. Rajeev Mohan was as plain as he was to be for the role. As for Meera Jasmine who had a completely deglamourised look all through the film, the talent was seen in the way she looked at her would-be victims -cool and cruel.

Disclaimer: If you want to watch Balupu without being able to predict the story, venture out only without knowing the star cast.

Balupu Movie Review
First things first.  Ravi Teja has finally wriggled himself out of the sleepwalking mode to deliver a dekko, true to his Mass Maharaja image (though not as crazy as his Vikramarkudu act).  He gets to show three variations, and the true blue 'balupu' avatar is the best of them all.

With any other writer, predictability would have made 'Balupu' mean nothing more than an inflated balloon.  But when Kona Venkat (co-written by Veligonda Srinivas) is around, it cannot be that way.  He experiments comically with mass-y ideas and caters to both the class and mass audiences.  He achieves this gargantuan feat by milling his tested formula with a few tweaks and dishes out a spice-peppered script topped with the sensibilities of his director.  The idea is VARIATIONS.  Sreenu Vaitla is the host of this contagion and Kona is his estranged carrier.  It has infected Gopichand Malineni and the result is action plus entertainment.

Puncturing the 'paga+prateekaram' tyre when the audience most expects it to go the whole hog takes guts and the makers of Balupu, including RT, have enough.  When a mimickrian of Ravi Teja's quirkiness is the hero, the impossible would be child's play.  Within 30 minutes of imitating Balakrishna's public speech delivery, he cheerfully and confidently morphs into Shafi and the parody actually makes Shafi's now-boring act look interesting.

Coming to how the writer-director duo make-up a routine story into an engaging film, they weave a circus around a serious villain without asking us to suspend our disbelief like we have to do when watching the films such as Naayak.  Our villains have had a sentimental profile of their own, not just avarice and a murderous agenda.  It is this quality that Kona Venkat exploits and instead of using an item girl or a comedian like the writers/directors of the bygone era, he makes the hero do the masala comedy.  That's how Mahesh won the BO battle through Dookudu.  That's how Ravi Teja will win a battle for the first time since Mirapakai.

Balupu's storyline is no big deal, what is enjoyable is the treatment, the hero, and the mandatory 'garam masala' star - Brahmi, who delivers a few laughs.

Ravi (RT) leads the life of a recovery agent and the only complaint his father (Prakash Raj) has is that his son refuses to get married.  Enter Shruti and Brahmi (as Crazy Mohan) and they both like to live a crazy life by victimising teenage guys.  Ravi takes it upon himself to avenge his friend's loss of money and plots to teach a lesson to the duo.

In other parts of South India, Poorna (Ashutosh Raja) is hunting for Shankar and Nanaji, who we understand are on the run.  The up-and-coming twist at the interval would come as a surprise only if you haven't watched a single film since Samarasimha Reddy.

What happens thereafter too doesn't hold much surprise.

If story-wise Balupu is just about ok, Malineni's experiments with Ravi Teja save the day.  The Settlement Shankar variation is neatly dealt, the attitude he shows in the presence of Commissioner babai, the way the scene begins and ends bears testament to what a director can do with his touch.

Overall, the dialogue pack a punch.  However, it would help if our heroes are not made to make similes out of the 'vishwasam' of 'kukkalu' and their power..

Age is gradually showing on Brahmi's face, the imitation of Pawan, Allu Arjun and Shafi notwithstanding, his comedy is routine.

If Ravi Teja walks away with an energetic performance after a gap of half-a-dozen movies, Shruti looks drop dead gorgeous.  Her sizzling presence is sure to be a plus.  Anjali doesn't convince with her expressions in the last heavy scene of her, her diction too needs maturing.  Prakash Raj doesn't show any new variation, his two variations are things of the past.

The villains - played by Rana, Adivi Sesh, Ajay and Shafi - perfectly fit the bill.

Thaman's music and BG score are fine.  Cinematography and editing are up to the mark.

Verdict:  Balupu is a mix of action plus entertainment.

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It's an interesting story, how Ravi Teja transformed into the venerable "Mass Maharaja" of Tollywood. It dates back to 2002, days before the release of Idiot, which catapulted the actor into superstardom. Admittedly, the actor had reservations about his character Chanti's quirks, crossing the limits of "acceptable behaviour" on screen. After watching the final cut of the film, Ravi Teja recalls telling good friend and director Puri Jagganath —"Jaggu, ee character behaviour mothadu mari ekkuva peruguthundi emo," (Don't you think this character is pushing the limits of eccentric behaviour on screen?). To which, the director responded, "Ee cinema tharavatha nee position ela untundo nuvve chudu." (Wait and watch what this movie will do to your career).

The Game Changer
The movie ended up changing more than Ravi Teja's fortunes. His portrayal of Chanti, the irreverent son of a police constable who falls in love with the daughter of the police commissioner, ushered the dawn of a new era of "Telugu cinema heroes" onscreen — more whimsical, reckless, rebellious, vainer, brasher and roguish than ever. Chanti was an extension of Pawn Kalyan's character in Badri and was the precursor to his own Chandu in Itlu Sravani Subramanyam and also, the iconic Pandu in Mahesh Babu's Pokiri.

The Ravi Teja of the Old
Ravi Teja has delivered many hit films since, but never could recreate the frenzy that films like Idiot and Itlu Sravani Subramanyam. And now, director Gopichand Mallineni promises to "bring back the Ravi Teja of the old," in Balupu. Bring that up with the Mass Maharaja and he politely brushes it off saying, "Ante basicga director ki nenante chala ishtham." (The director is a little too fond of me).
A far cry from the hyperbolic characters he plays on screen, Ravi Teja prefers to let his movies do the talking. "The guy who buys the tickets must talk about my work; I don't really like talking about my work," he says, preferring to describe Balupu as an "out-and-out entertainer with a good commercial script, two beautiful girls, nice songs and great comedy."

Plain & simple
That he prefers to keep things simple is pretty obvious from the way he talks about the thought process that goes behind his movies. "I liked Gopichand's confidence and clarity when he
narrated the script to me.

Danni nammi cheyatame anthe thappa, ekkuva alochinchi, katha ila chesthe bauntadi, ala theesthe bauntadi ani eme mi alochinchanu. (I just trust the director and never over analyse the script, screenplay etc). You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts," reckons the actor, who is teaming up with the director for the second time after Don Seenu, which was Gopichand's directorial debut.
Since that film, the actor's career graph took a downward spiral.

Save Mirapakay, the six films — Dongalamutha, Veera, Nippu, Daruvu, Devudu Chesina Manushlu — that followed, failed to live up to the audiences' expectations and earned him brickbats for getting "too stereotyped." The superstar however, retorts, "When I tried to do off beat films, they tanked at the BO. I don't think the audience wants different films — they only want to be entertained. Anni cinemalu nache chesthamu kada, kani manaki nachinavi konni sarlu audience ki nachuthayi mari konni sarklu nachchavanthe," (We all do films believing in them completely, but sometimes, the audiences like what we like and other times, they don't).

Instinctively reactive
For him, acting is all about instinct. "No preparations, no homework, only class work," he declares. Talking about his approach to every movie, he reveals, "Okati chusi daniki react avvadame thappa, prepare ayyi, repu enti, future enti, anedi eppudu alochinchanu. Ippudu enti, anthe, react ayi vellipodame. Ee sceneni ila chesthe bauntadi ani eppudu work cheyaledu nenu. (I just follow my instinct and react to the situation and improvise on the spot. That's all, I don't think/prepare too much about what's tomorrow, what's in the future etc. It's all about reacting to the now)." Ravi Teja adds, "I've been lucky to find directors of the same wavelength."

In fact, liking the people he works with, is of utmost importance to the actor. "I don't like seriousness on my sets, alanti vallani encourage kuda cheyamu, ranivvamu. (I can't work with people who aren't fun loving. I don't encourage such people) Chala serious ga, chirakuga undevallu naku nacharu, lagi guba meeda kottalanipisthuntadi! (I just can't stand the serious, irritable people... I feel like giving them a tight slap on their faces!)," quips the actor, adding, "Kothimuka pani chesinattu undali, jovial ga aaduthu paduthu pani cheyali. (On my sets, people are always playing pranks, are cheerful and having fun while working)."

A joy ride
Apparently, working on Balupu was also a big joy ride. We couldn't let him go without getting a word or two about his "two beautiful co-stars." "It was fantastic as both are fabulous actors. Shruti Haasan is playing a very energetic character, something she's never done before. The character is close to the person she is off the screen. Anjali's character is an extension of her role in SVSC, and she also did a great job," says Ravi Teja, who is playing a "super confident guy" in the movie. The actor reveals that his character has two shades — a super cocky side and a super entertaining side. But there are speculations that he is doing a dual role. "You will have to watch the movie to find out," he concludes. Balupu, produced by the PVP Cinema, is releasing today.

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His celebrations are not over yet but Sudheer Babu is quick to shift focus on his next. After the success of Prema Katha Chitram, the actor has signed another film Mayadari Malligadu to be directed by debutante Hanuman. The film is likely to go on floors towards the end of June.

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