Starring: Ravi Teja, Seiya, Supreeth, Rama Prabha

Released on: 19th December 2008

Director : Puri Jagannadh


An insider’s view of film industry through the eyes of a struggling Assistant director. The film captures the positive attitude of the protagonist in spite of trials and tribulations that he faces on a day-to-day basis. Interwoven in the narrative are a romantic track and a face-off with the antagonist too


Ravi Teja works as an assistant director to Brahmanandam. When asked by his mother as to what he stands to gain by working under him, he replies saying he would know how not to make a movie. In the process he meets Seiya, a dancing extra and is impressed with her attitude. After a couple of meetings, they start getting close to each other. This falls in the eyes of her brother-in-law, who does not quite like the fact and starts physically abusing her sister to get things done his way. In the process of shooting a trial video for his directorial aspirations, he pushes  forward the video to various directors. This enables Seiya to get noticed and aids in her becoming a heroine. Supreeth is smitten by her and wants to experience the beguiling charms. The worlds of Supreeth and Ravi Teja collide pretty often with both trying to put it across each other. The film ends with Ravi Teja realising his dream

Scenes to Watch

# Ravi Teja admonishing Seiya on not wearing a revealing costume. Seiya in turn compromises when threatened with the marching orders

# The trials for a small portion in the movie and the aspirants taking their frustration out in the form of dialogues for the part

# The scene where a production controller explains to the producer, how the director is blowing the money away

# Ravi Teja and Supreeth meeting for the first time. The way Ravi Teja reacts in dream and reality, when the integrity of film industry people is questioned

# Ravi Teja meeting Seiya in an auto and the romance track that follows. Subsequent scenes with Krishna Bhagwan are also good

# Seiya reacting emotionally to Ravi Teja not wishing on her birthday at midnight and Ravi Teja getting irritated by the futility of it all

# Ravi Teja narrating his story to a producer, who is unwilling to let him direct the movie, though he is impressed with the story. Ravi Teja explaining in simple and few words as to converting the negative into positive

# Ravi Teja explaining the meaning of passion to Seiya and advising her to stop wasting time

# Confrontational scene between Ravi Teja and Supreeth

# Scene between Ravi Teja and Seiya, where Ravi Teja explains the virtues of love

# Confrontational scene between Ravi Teja and Supreeth in an alley

#  Ravi Teja comforting Seiya when she comes to meet him after his mother’s death

# Ravi Teja going to Seiya’s house to get her consent for acting in his movie

# Ravi Teja punishing Supreeth’s brothers

# The climax

Highlights of the movie


Though the movie was about the rise of the underdog, it was the treatment of Puri Jagannadh that stands out. Though the movie was with some vulgar dialogues, it could not have been avoided as a few vital scenes would have ineffective. The dialogues mostly uttered by Supreeth bring out the brutality of his character

Director wanted to convey the human spirit and he brings it out with the positivity in Ravi Teja’s character. Nothing actually fazes him in the pursuit of his dream

The romantic angle also worked out well in the movie. Seiya and Ravi Teja have a lot of memorable scenes in the movie. None more terrific than the scene where Seiya comes to him and asks to elope

The action episodes stand out in the movie. Every fight in the movie, bar the climax was far from routine and helps in accentuating the protagonist’s character



There  isn’t any weakness in terms of movie-making but the director could have certainly toned down on the vulgar content in the dialogues. With people’s patience short these days, it was a tad lengthy that Ravi Teja tends to convey his thoughts in the form of superb dialogues, ironically. The vulgar content actually kept the family audiences away

Final Word


It certainly is a movie that the director made to his heart’s content rather than satisfying the audience and thus bowing down to the commercial aspects


Passages of Play

Can you describe the best passage of play in T20 cricket? Well, if the answer is, Yuvraj Singh hitting the ball out of the park then, I am tempted to say that the knowledge of an average cricketing fan is on descent

In ODI’s there does exist a sub-script to the happenings. More often than not the passage of play involves the protagonists trying to get their say in a game of one-upmanship

It’s in the Test cricket that there will be the best passages of play. In T20 and ODI formats of the game, the batsman can take solace from the fact that the bowler is gonna bowl only 4 and 10 overs respectively. In Test cricket thats not the case. There is no escape route. Thus we get to see either the batsman getting worked over or the bowler being shred to pieces

It’s only in the Tests that even a draw can dish up exciting fare. ( Drawn test in 2005 Ashes) stands out as a glowing example for how uplifting a draw can be. The Kolkata Test between India and South Africa was an epic in the sense that, South Africa took it down to the final session and India were pressing for a win so that they don’t end up losing the series

Normally in these kind of situations it’s the bowler who takes the team to the victory post. Ask Ricky Ponting how he missed a bowler of calibre during the Cardiff Test in 2009 and you would know what a thinking bowler can do for his captain

Utopian pictures of a match-winning bowler are imagined thus. Collar turned up, running into the wind, muscles contracting and relaxing according to the whims and fancies of the bowler

As much as it delights me to watch a batsman unfurl all the strokes in the book, it is a scenic pleasure when the bowler is outthinking the batsman and troubling him

Be it a fast bowler or a spinner, the basic rule of the game is to take the wicket of the batsman. There is no absolutely no use of troubling a batsman over the length of the spell and then not being able to take his wicket. In such cases, it’s a battle won by the batsman. A few bowlers in the middle of a superb spell respond by taking the batsman out at the other end, if they find one batsman immovable

A few duels remain etched in the mind. Some of them are as follows

1) Flintoff V Kallis at Edgbaston 2008

Though South Africa won the match and won the series to win for the first time since their return to the international fold, this was the passage of play where players, crowd, media and commentators held their collective breath. In a matter of 10 balls, Flintoff and Kallis defined thrill. By the time Flintoff came back into the attack, Kallis looked to be running away with the match. Flintoff started to rev it up from ball one as he pitched one full beating Kallis’ outside edge. He cleverly mixed bouncers with the full balls as he had Kallis in trouble. If not for Aleem Dar’s decision he could have had Kallis in that over itself as he trapped him right in front with a Yorker on the off stump that hit the toe of the batsman. Far from being discouraged, Flintoff gave it his all in the next over. He bowled a full ball that beat Kallis for both swing and pace. The very next ball he bowled Kallis with a Yorker. The gladiatorial stance of Flintoff makes it a dismissal to be remembered

2) Atherton V Donald at Trentbridge, 1998

This was one of those instances where the bowler did everything but get the umpire to raise the index finger. He even dismissed the batsman only to see the umpire reluctant to give Atherton out. An Excerpt from the article written by Martin Williamson is as follows

England started confidently, reaching 40 before Mark Butcher was caught behind by Mark Boucher in the 18th over. “I felt we were entering a decisive phase,” Donald said. Hansie Cronje, his captain, agreed and brought him back into the attack. “What followed,” Donald recalled, “was the best duel I’ve ever had with a batsman over a prolonged period.”

Donald’s first over was a loosener – “not slow but not quick by his standards,” according to Atherton – but after one ball of his second over, he switched to round the wicket, a sure sign that he was warmed up.

In Donald’s third over he produced a brute of a ball aimed straight at Atherton’s throat . “Instinctively, I tried to protect myself with my bat and the ball cannoned into my right hand and ballooned up to Boucher,” he recalled. Donald continued his follow-through, arms raised in triumph, while Atherton stood his ground. “I dared not look up,” he said. “But when I did umpire Steve Dunne remained unmoved.”

Donald said he didn’t read too much into Atherton’s reluctance to depart, putting it down to disappointment. “We both knew he’d gloved it.” But as the reality set in, Donald’s disbelief turned to anger. His recollection is that he told Atherton; “You better be f****** ready for what’s coming because there’ll be nothing in your half.” Atherton recalled a more succinct message: “You f****** cheat.” The two glared at each other, with Atherton determined not to be the first to break eye contact – “Keep staring,” he told himself, “he’s got to turn away next.”

What followed was utterly engrossing, as Donald put every ounce of his energy into flattening the batsman. To add insult to injury, Atherton inside-edged the next ball past his leg stump for four. Donald’s only response was to continue the verbal barrage against the batsman, in English rather than Afrikaans. “I wanted him to understand what I was saying to him.”

Thereafter Donald did everything but take a wicket, peppering both Atherton and Nasser Hussain with vicious bouncers, striking Atherton a painful blow in the chest. Most of the South Africans added to the tension with audible asides of their own. “I’d never felt such adrenalin,” Donald admitted. “Both of us gave our all,” Atherton wrote, “laying ourselves bare, with nothing in reserve.”

That was it as  Boucher dropped a catch of Naseer Hussain and something went missing from the resolve of Allan Donald. For Atherton this was sweeter as it came after an undefeated 185 at Wanderers

Co-incidentally this was the debut match of Andrew Flintoff

3) Sachin Tendulkar V Dale Steyn, Cape Town 2011

Starting from the first ball on the third day, Steyn started to challenge the evergreen Sachin Tendulkar’s patience outside the off stump. He even drew him forward to get an outside edge back to the keeper. The problem again being that the umpire seemed reluctant to make the decision. Refusing to budge, Steyn unleashed a short ball barrage and vitriol at Sachin Tendulkar. Nothing seemed to disturb the man as he saw off the spell and scored a century. This performance of Steyn is staggering as he repeatedly drew Tendulkar onto the front foot and beat him with movement. Credit then to Tendulkar that he withstood the barrage and delivered the goods

Nuvve Nuvve- A look back

Starring: Tarun, Shriya, Prakash Raj, Chandra Mohan

Released on: 10th October 2002

Director: Trivikram Srinivas

Synopsis :

A struggle of a daughter to choose between her father and her lover. Although it’s the struggle of the daughter, the director concentrates on showing it on on-screen between the respective roles of her father and lover. This movie delves into the psyche of a girl – her indecisiveness, lack of clarity


Tarun is the son of a shopping market owner and Shriya is the daughter of a multi-millionaire played by Chandra Mohan and Prakash Raj respectively.  Tarun’s initial scenes potray him as a vagabond and he contrives the situations such that Shriya falls in love with him. Meanwhile Shriya has a dad who loves her more than any other thing/person in this world. The different worlds that the protagonists in her life inhabit leads to a clash between them. They are pretty similar in showering love on her. Who Shriya choses in the end and whether she can placate both the parties is what forms the climax of the movie

Scenes to watch:

# The initial scene itself in the movie is a pointer to the way the movie would proceed

# The scene where Tarun does not have money to pay the canteen bill and end’s up cleaning the utensils

# Pizza-hut (or ) corner sequence where Tarun borrows a hundred rupees and treats Shilpa with the money

# The first time Tarun and Prakash Raj meet in the movie, in a five-star hotel lobby

# The scene where Tarun and Shriya fly to Mumbai

# The scene where Prakash Raj offers Tarun money to exit his daughter’s life

# The reason that Tarun gives  for not accepting the money and goes on to explain

# Tarun and Shriya meeting after Tarun refuses the money

# Tarun and Prakash Raj confrontation at Prakash Raj’s office

# Pond scene between the Brahmin and Prakash Raj

# Rajeev Kanakala explaining to himself the choice of the groom for Shriya with Prakash Raj

# Tarun getting Shriya back to her house and the scene that follows with Prakash Raj

# The climax scene in the pelli mandapam and Rajeev Kanakala’s expression at the end of it all

Highlights of the movie:

This movie was neither a path breaking love story nor did it set the cash register’s ringing. What it ensured was that if a director has the vision, he can forward the movie in any which manner possible. That Trivikram chose dialogues as his modus operandi works both in his favour and against . It worked against him because the audience did not have the attention span to register the kind of impact he wanted the dialogues. This probably explains the reason why the movie is popular in Cable channel circuit and it’s CD/DVD sales. The dialogues once your hear them register an impact that actually sets your mind into the thinking mode. The way he changes Tarun’s character from a happy go lucky person to a decidedly assured and assertive individual is simply amazing. Here are some of the dialogues that I liked the most in the movie

# Ee ammayi naa rakhtam panchukuni puttindhi ( The pride in the fact that she is my blood)

– Prakash Raj, explaining the pride in having a daughter and boy’s appreciating her beauty

# Pogaru… ammo figure (Arrogance .. Phew! A girl!)

– Tarun switching the moods seamlessly between ordering a store-boy and sighting a girl

#Manam Padhi metlu ekkithe, mana pillalu padhakondo mettu nunchi ekkalani anukuntam (Because we have reached certain heights in life, we would want our children to start from there on)

– Tarun explaining the normal philosophy of a middle class person on being questioned as to why he is depending on his father and intends to continue the business

#Amma, avvakai, Anjali (Mom. Pickle and Anjali)

-Tarun making his priorities in life clear to Shriya

#Evanni nenu appudu cheppunte koppam lo cheppanu anukuntaru, kaani ippudu chepthe meeku ardham avuthundhi (If I had told you all these then itself, you would have thought that I am talking out of anger, but you would understand it now)

-Tarun explaining the reasons why he refuses the money offered to him and explaining the delay in pointing out the reasons

# Innalu nenu okka andhamaina ammayini preminchanu annukunannu, kani ivvala modati sari nenu okka dabbuna ammayini premistunanu anipistondhi. Enduku untaru illa meeru… nuvvu mee nana(All these days I thought I loved a beautiful girl but today for the first time I feel I love a daughter of a rich man)

-Tarun making his anguish clear to Shriya when she offers him money to get back the gold chain that he had pledged to go on a trip to Mumbai with her

#Naa chellule kanaka okka bichagodu premisthe, alochistanu. Inallu manam penchina ammayi vadini preminchindhi ante vadi aluvatlyu maaku degiraga vuntayyi ani ( If at all my sister loves a beggar, I would think that a gal whom we have bought up so lovingly would have fallen in love with him because of the closeness in habits)

-Tarun, explaining the fact that he would give a look-in to the fact as to why a gal would have loved a boy

#Nenu dani nammakani namuthanu (I believe her beliefs)

-Prakash Raj saying what must be every father’s belief

#Nee jeevithaniki vondha markulu aithe, naaku muppai vaadiki dabbai. Nakkinko aidhu markulu vesi pass cheyinchalevaa amma ( If your life was a 100 mark question, you would give me 30 and 70 to him. Can’t you give me 5 marks more and get me to the passing mark)

-Prakash Raj blackmailing his daughter into submission when she confronts him with the fact that he had offered Tarun money

#Nizam danini manam marchalem (We can’t alter the truth)

-Tarun in explaining about his love to Prakash Raj

#Manam eem chestunaamo manaki telusthundhi, manaki matrame telusthundhi, meeku telusu ( Only we know what we are doing. Even you know it)

-Tarun says the fact that we all but don’t accept. That we know what we do is right or wrong and our conscience should have the first say in deciding our actions. Rajeev Kanakala’s expression at the end of this say it all


If at all there is any weakness in the movie then it has to be the lack of a comic angle to the movie. Although Sunil manages to provide some relief it’s not enough as this is a emotionally heavy drama

All in all, it’s a movie that I like watching again and again. I would do so till the dialogues fail to create an impact on me. Till then, let’s salute the writer that Trivikram is

Veera movie review

When we are used to watching a person turn the ordinary into extra-ordinary, we come to expect that he/she is devoid of mediocrity and then when we actually see them being a part of mediocrity, we expect for some SUPERSTAR touch that never comes . And what of a person who has the world at his hand but then throws it all away. All this thoughts run across the mind after  watching the latest release of Ravi Teja, ‘Veera’. The fact that shines through after watching this movie is that there are scripts that even Ravi Teja can’t salvage

In the past few years Ravi Teja has been the actor that directors go to, if they want to enact the phoenix act on their careers but on the flip side, what about directors that can’t deliver a hit with him. Well we need to talk to Amma Rajashekhar, Mahesh Shankar for that. Now we can talk see that all unravelling in front of our eyes with Ramesh Varma. Amidst all this, hope can only come in the form of Ravi Teja himself. Ask Harish Shankar for further evidence

The  movie is beset with PROBLEMS with the narrative. When the portion that introduces the patriarchal part of Ravi Teja, the movie falls flat on its face as comedy is dependent on entendre and goes to show the protagonist as a sex-hungry character

Surely the movie does have its moments but they are far and flung in between to make sense of them. The best part of the movie is obviously the part where Ravi Teja and Brahmanandam come together. One just has to wonder as to how could the director throw  away the chance with such entertainers at his disposal

Ravi Teja is known to make such blunders once in a while but to actually get Kajal and Tapsee to commit similar blunders does take some effort. Ramesh Varma does need some applause for getting a group to commit blunders

One positive from this movie is the discovery of Dancing talents of Tapsee. She reminds people of Radha, the way she dances

Mr. Ramesh Varma please bide your time till Ravi Teja stumbles upon the fact that you need a life because with this kind of direction nobody else would come forward to act in your direction

What compels you to watch a movie more than once?

Some of the movies that I watched multiple times

How many times has it happened to you that, on a lazy sunday afternoon you get to watch the movie that you have always cherished watching? Have you ever gone beyond the happiness, to find why are you attracted to watching that movie multiple times

Even I have been a victim of that phenomenon. I find myself rushing to the theaters when a movie impresses me. There are many factors that can make you watch a movie more than once

Background Music

If you have ever been a fan of Illayaraja, you would certainly vouch for the fact that the Background Music in his movies is way beyond praise. There are a lot of movies that have been redeemed by his background score. As recently as 2009, there was a entire movie based on the initial strum of his song (Sarvam)

BGM raises the effect of a scene and a music director knows this the best. One of the movies that had good Background Music in the recent days is Ko. Harris Jayraj knows what to do in this movie with the BGM. It was the BGM that made the hard hitting film appear even better


Another factor that makes you run to the theatres is the presence of some scenes that you would want to see over and over again. I remember as a child, wanting to watch ‘Aatish’ over and over again only because of a single scene. The scene where Sanjay Dutt comes back from jail to meet Aditya Panscholi tugged the right chords for me

Neninthe was another movie that had a host of scenes that could be watched one after the other on a loop mode

This is where the protagonists come into the picture. Neninthe, for instance had Ravi Teja having the audience eat out of his hands. If the protagonist has another performer complimenting him in the scene, then the effect would be resonating . Remember Bomarillu anyone


How many times have you been drawn to the theaters showing a comedy entertainer than a movie that is preachy? The fact is, that people would prefer to leave their brains at home to watch a movie rather than scratch their brains to comprehend a movie. It is not that the ‘intellectual’ movies wont find takers, but the publicity for the movie has to oriented around the fact that it is an intellectual movie

Sometimes even that may not work as Puri Jagannath found out with ‘Nenu naa Rakshasi’. It was promoted as a movie belonging to the film noir genre and also as an intellectual movie. What gives the movie away was that it had to compromise to the market beliefs. The last couple of scenes in the movie were meant to appease the viewers but the makers were caught. The box office collections reflect that they were

Believability, relatable, and looking up to the protagonist

The heading itself is self-explanatory. When the protagonists role is believable or relatable then we find ourselves heading to the screens more often. Remember around the time, when Bomarillu that every youth was painting his father to be a Prakash Raj

Sometimes we would want to see the protagonist doing things that we would want to do but are not able to. This feeling of helplessness goes a long way in us realising it through the protagonist we see on screen

P.S : This is a not a comprehensive list of the factors that would make a viewer watch the movie twice but these are the factors based on individual perspective. And that individual happens to be me

Ko- A must go

“A good newspaper is like a nation talking to itself(sic)” goes the saying in the background in the last scene of the movie. Even though its in the background, it catches your eye because of you being involved with the movie

Despite allegations of it being a remake of a Hollywood movie, the movie scores on the basis of the vision of the director and the performances of the cast

KV Anand is known for showing his movies in a lavish manner and he follows the precedent set in his previous movie, Ayan. In this movie too, interval is not for the sake of a break but to keep you waiting for the events to unfold. And the death of a character sets off a chain of events in both the movies

Though he has wasted seasoned performers like Prakash Raj and  Kota Srinivasa Rao, he more than makes up for it by extracting top-notch performances from Jiiva, Ajmal Ameer, Pia Bajpai and Karthika Nair

Its racy from the first frame to the point where the movie is turned on its head. The actors who refused the protagonists role must now be kicking their backsides. Jiiva infuses a lot of life into the role and comes out trumps. There is not a scene where he has underperformed/overacted. He will certainly look back with fondness whenever KO crosses his mind

Ajmal Ameer is a revelation and it would not be stretching to say that the movie revolves around him. He has come up with a superb performance that complement his good looks. A huge praise here needs to go to the artiste who dubbed for him

Pia Bajpaai’s role in the movie is short in length but is very important when considered that it pushes the movie forward

Karthika whose debut film in Telugu was a dud and a role in which she was made-up, shrugs off the after effects and delivers an impeccable performance. The good news for her is that the only way for her is up

Another similarity with Ayan in this movie is picturising it in virgin locations. If Ayan was shot in Congo, then Ko is shot beautifully in Norway in the song sequences. Except for the song ‘Venpaniye’ nowhere does the picturisation appear dramatic/filmy


A word of praise needs to be reserved for Harris Jayraj too as he not only scores superb songs but also scored superb Background music. The BGM added a lot to the effect of the scenes

The recent trend in Telugu film industry has been to put forward the titles impressively. KV Anand scores a centum for the titles. He invited people to send photographs through social network and put them up. The titles in his future films will be keenly awaited

As mentioned before even though the film is rumoured to be a remake, KV Anand does make sure that he leaves his signature on it. If Ayan was a trendsetter then Ko does certainly give an image to him as it pushes him into the league of directors that actors aspire to work with