Telugu cinema has undergone a seemingly imperceptible transformation not only technically but also content wise and I credit Mahesh Babu for a tiny bit. He’s the first Telugu superstar to be seen on-screen wearing normal, classy clothes rather than garish costumes. He ‘spoke’ rather than deliver dialogues and there was casualness about his on-screen demeanour that was disarming and charming. For Telugu directors it was always a struggle between their sensibilities and what was perceived as the audience’s taste. The change started probably with getting gifted cinematographers from the Tamil industry on board like Pawan Kalyan insisting on P.C. Sreeram for ‘Kushi’. Incidentally, the camera was cranked by Jeeva, Sreeram’s protégé for the Tamil original. Anyway with these cameramen came classy art directors who made even ‘sets’ look lived in. There were no painted hills and blue skies in the background. Cinematographers like Ratnavelu are revered because they insist on getting involved right from the script stage rather than sign because they’re paid a premium. If the rawness in ‘Rangasthalam’ was applauded then the fine blend of audience aspirations and cinematic chimera in ‘Bharat Ane Nenu’ has set the box-office on fire.
Mahesh Babu’s career, in stock market jargon is full of lower bottoms and higher tops! For every dud like ‘Sainikudu’ there was a blockbuster ‘Srimanthudu’. Growing up on a diet of Rajni and Kamal films while studying in Madras, Mahesh like many of his generation apparently aspires to be a blend of both. He hasn’t shied away from experimenting, by Telugu standards from accepting a psychological thriller like ‘Nenokkadine’ which went kaput. There was the emotional choice, ‘Brahmotsavam’ when he seemed to feel family emotions are what works and the over ambitious ‘Spyder’. All three were duds and pundits were busy writing him off but he’s back with a bang.
‘Bharat Ane Nenu’ starts with swift ‘establishment’ scenes. Bharat jogs to collect his fifth ‘degree’ in a London college like Nagarjuna in ‘Geetanjali’ and even breaks into a song after that. Things turn sombre with an uncle informing him of his father, the Chief Minister’s demise. There are sharply cut flashback sequences of his ‘never at home’ father and a doting mother who instils values in him. There’s a hint of illness when the father asks if she’s ingested her medicines. Mother passes away and enter, the indifferent stepmom. A kind uncle offers to take the lonely child to London and the expressionless father (Sarath Kumar) accedes. Cut to the present and Bharat, on a spin around town is dismayed at the constant honking, rash driving and two-wheelers driving on pavements. There’s political turmoil with his father’s friends and adversaries aspiring to usurp power. His father’s buddy and political advisor decides to thrust the crown on Bharat. The reluctant son ascending the father’s throne is as old as ‘Godfather’ or is it The Ramayana? Anyway Bharat takes his job earnestly and starts by imposing a small fortune as fines for traffic violations.
This is when he’s not ogling the typical heroine slurping ice cream and giggling like she’s being tickled by an invisible being. There are the political opponents and father’s pal who turns adversary when he realises his puppet has snipped the thread. The scenes of political intrigue, chicanery and father figure turning foe are succinctly written. Of course the producer seems to prod the director periodically to add a song here and a fight there. The fact that a good intention alone, even when in power is just not enough in politics is convincingly established. The film abounds with clichés but handled with sensitivity. The director manages to keep you engaged with some pithy lines. The reason for Bharat resigning is pretty weak though but his rant blaming the press effective.
Mahesh Babu is terrific. You can see he likes the character he’s playing and there’s great improvement in his sense of timing and dialogue delivery. He relies on his charming presence more than bone breaking stunts and dances.
Prakash Raj as the wily kingmaker steals scenes effortlessly. Kiara makes a confident debut in Telugu. Ravi K. Chandran and National award winner Thiru have cranked the camera and you can see why they’re respected. They impart a touch of class to the briefest of scenes. The quality of art direction has improved by leaps and bounds. In the end credit should go to Kortala Siva who’s graduated from the crass to lend a touch of class. He’s discovered the dialogue writer in himself.
‘Bharat Ane Nenu’ is unrealistic and Utopian. It’s like expecting Kamal to become the next chief minister of Tamil Nadu. Cinema is what we want to see not what reality is. will be. I hope Siva churns out an equally engaging sequel.
sshivu@yahoo.com
