It was during the audio release function of ‘Temper’ that Jr. NTR goaded his fans into watching Temper. The movie also marked the beginning of a purple patch for him. Before the release of Temper many had dubbed him as a waning force, but he proved the naysayers wrong on two counts after the release.
First is obviously to those people who doubted that if Jr.NTR was still the box office draw that he used to be. Second was an answer to those people that sniggered at him for their perception of him. They thought he only chased directors who had a super hit as their last release. With Temper, he gave a hit and also proved that he doesn’t chase directors with super hits in their resume.
Saikumar’s character while speaking of Jr.NTR’s says, ‘very balanced, more dangerous.’ With a little change, Jr.NTR can also be spoken of as an actor – very balanced, more effective.
When Oopiri released in March this year, people came to know that Jr. NTR was the driving force behind the film and had to refuse Karthi’s role in the movie because he was with the look for Nannaku Prematho. When I saw the film, I felt that Jr.NTR couldn’t have handled the subtle scenes and it was better for the film that he made way for Karthi.
Janata Garage has a couple of scenes which are a slap to my thinking. The entire episode involving Rajeev Kanakala has Jr.NTR elevating his acting to another level without actually raising his voice. Similarly, the scene with Samantha, her parents and Mohanlal is one which will make you reconsider the preconceived notions about his acting. He acts brilliantly in the scene. It’s also ironic that Mohanlal moves away from the frame so that Jr.NTR can take centerstage.
Jr.NTR is the best dancer in the country. Period. He sets the screen ablaze whenever he gets a chance to shake his leg. Jr. NTR has tremendous acting chops. He could deliver on intense roles by getting loud. But can he be subtle and yet deliver? The answer from Janata Garage is a resounding yes. The fight where he explains nature’s fury and a few more sequences are indicators to that. He can also shift gears easily as he does after getting slapped. He stays silent for a little while and demonstrates his fury. All of this happens in a matter of seconds.
What can be said of Mohanlal that is left unsaid? He is so brilliant in the scenes even where he doesn’t have a dialogue to utter. He spends most of the second half sitting in an arm chair, yet he conveys the anguish, joy and pride with his eyes. The man is an acting masterclass.
What exactly were Samantha and Nitya Menon doing in the movie? They have a combined total, probably, of ten scenes in the movie. Neither are the roles are well etched nor do they require extraordinary talent. Nitya Menon seems to suffer from the same affliction as Jr.NTR: not being able to judge the scripts properly.
There are a host of character actors that have very little to do in the movie. Yes, they appear in the movie but having nothing worthwhile to talk about their performances.
And yes, Kajal! It takes a lot to be in the frame as Jr.NTR in a song and yet steal the thunder from him. Kajal does the same in the song that appears in.
The camerawork in the movie is top notch. The visuals in Mumbai, Hyderabad and Kerala are captured brilliantly. Every single time we feel that the movie is dragging or becoming predictable, Devi Sri Prasad redeems it with his background music.
Koratala Siva, the director of the movie, sets Mohanlal’s character well. After a few minutes into the movie, the characters of Mohanlal and Jr.NTR run parallely: Jr. NTR as an environment lover and Mohanlal as a man who can’t see people in distress. Koratala Siva builds the story up superbly until the intermission point. He could’ve taken the story along in various angles. Yet, he chose to proceed with the most feeble of the options .
Though he can build the story well, write the dialogues superbly and get the actors to perform well, he fails in the climax scenes in every movie directed by him. He seems to be at a loss of aforementioned abilities while writing the climax. This movie too, like Srimanthudu, ends abruptly and, sort of, leaves a bittersweet taste. He was lucky that he chose the main protagonists well.
The movie is presented well. I don’t know if it’s a conscious choice or an aberration, but Koratala Siva hasn’t shot a scene or a song abroad in his last two movies. In the present age, that’s a miracle.
Verdict : Watching this movie is pretty much feeling like Australia cricketers in the iconic Johannesburg match. They did everything right, but failed to finish well. Same is the case with Janata Garage too
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