Desicritics

Movie Review: Mozhi - Hype Kills the Movie

Nandhu — Wed, 24 Oct 2007 00:09:54 EDT

It’s the dignified flash of Jyothika’s wrists that gives the first clue that Mozhi won’t be an ordinary Tamil movie. Confronting an angry Prithiviraj, Jyothika quickly signals that she can neither hear nor speak. It’s done so smartly that you would miss it if you blinked. But still this being a Tamil movie, we get a replay 30 seconds later. Minutes later, Prithiviraj also explains the significance of the movements to his dear friend played by Prakash Raj. The sign language she employs conveys her dignity and independence, he tells his friend.

The two are musicians working in the film industry and Jyothika’s character Archana can’t hear. Director Radhamohan doesn’t miss a single opportunity to keep pointing out the philosophical implications of this. One of his characters whose passion for music can perhaps never be understood by the one true love of his life. But Karthik (Prithiviraj) believes that she can understand. He believes good music is felt as much as heard. And all through Vidyasagar’s standout track for the film, Jyothika is repeatedly seen listening to music, trying to understand the sounds Karthik makes.

Going by the furore it created upon release, I expected a movie entirely devoid of clichés. This is unfortunately not so. Sometimes Mozhi sinks to alarmingly pedestrian levels. A Pomeranian chases Karthik all the way from Adyar to Beasant Nagar as Prithvi run much like the Malayalam superstar Mohanlal would have decades ago. A neighbour of the two friends and the secretary of the up market apartment falls off the balcony after being frightened by a dead cockroach. The sequences are many when Radhamohan opens up the movie for laughs and panders to audiences. Even if he had chopped those sequences out, Mozhi’s dialogues are witty and sharp enough to prompt many laughs.

The film does have an admirable story to it. Jyothika’s Archana has near-feminist leanings. She is independent, fierce and brave, qualities the hero admires in her, calling her his Jhansi Ki Rani at one point. Radhamohan take care to equalize the genders. For once, man and woman seem on eye-level with each other. Just like Karthik and Viji (Prakash Raj), Archana is friends with Sheela at the dumb and deaf school they both teach in. And it’s Sheela, the matchmaker, with whom Viji, rather conveniently, falls in love with. This’s despite the fact that Sheela is a widow.

Prakash Raj, seen here without his usual irritating mannerisms, is happy to play second fiddle though he is the producer of the movie. As producer, Prakash Raj has seemingly mastered the art of making small-budgeted, light-hearted, contemporary love stories, two of which were directed by Radhamohan. Priya directed the third, Kanda Naal Mudhal. It’s hard to believe that the producer didn’t have a hand in ensuring that these movies had strong female characters.

In Mozhi, it’s Archana’s fierce independence and her refusal to be a burden to anyone that lends the movie its crisis. Diligent feminists would notice the contradiction here: a feminist character’s whose apparent feminism standing in the way of her marriage and normal life. But thankfully, the climax is nuanced. Prithivi doesn’t do a Vijay. Instead he makes a passionate plea to Archana to get a life. And well, she does.

Both Jyothika and Swarnamalya, who plays Sheela, exude the air of sophisticated, urban women. Only that both are sometimes a little too well dressed. Actually none of the characters ever appear in everyday clothes, which is strange for a movie that seeks to be rooted in reality. But this does give a chance for Jyothika to appear almost breathtakingly beautiful.

An interesting, comic sub-plot involves an absent-minded professor caught in a time warp in 1984 after receiving news of his son’s fatal accident. While his initial encounters with Prithiviraj were deliciously funny, I didn’t particularly care for the scene in which the hero helps him snap out of his condition. In fact, much of the comedy doesn’t further the plot but act as optional accessories. The editor could choose to keep half the movie out including some of its funniest portions and you wouldn’t notice anything amiss.

Radhamohan isn’t a virtuoso performer going for the intense symphony; this is like a simple folk tune. The movie is much like normal life. Bits and parts put together with seeming carelessness that somehow act as a whole. Only discerning viewers would notice the clever use of time-space. The plot trajectory never loses sight of logic and rarely wants you to suspend your disbelief. The movie is light, but never fluffy.

Much of the movie’s prestige is also derived from what it avoids. It’s got only one thing common with the average Tamil entertainer, the film it’s shot on. Most of the time, the movie steers clear of the usual pitfalls, especially in characterisation.

Perhaps because of the strong female lead, it occurred to me that K. Balachander, the man who introduced Prakash Raj to moviegoers, could have very well have directed the movie. Also much of the movie is like a play, a fact that cinematographer K.V. Anand tries to hide from us. Often enough, all the characters meet across the table and discuss their lives or life in general, often a mesh of both.

Also as the plot is largely absent, the movie rests on its comic content, or more appropriately put, its saccharine sweetness. Privithiraj’s character is of a man so good at heart that, without the wings and halo, it’s hard to take him. When he gets angry with Archana in the climax it doesn’t appear as if a character is vending his emotion, but rather as if something is wrong with the film itself.

Without the hype, I would have perhaps liked the movie. Burdened by it, I felt a bit let down.

Movie Review: The Departed - Oscar's Best and Scorsese's Weakest

Nandhu — Sun, 4 Mar 2007 08:18:17 EST

In view of its Oscar win, taking re-look at The Departed might be appropriate. I don’t think this is Martin Scorsese’s greatest work, but this will go down in history as the movie that made the Academy kiss and make up with one of the premier movie directors working in Hollywood. Apart from Best Director and Best Picture, William Monahan won for his adapted screenplay and Thelma Schoonmaker, a lifelong colleague of Scorsese, won for best editing.

I saw the movie on DVD a few weeks back. It just got released in Chennai, theatres obviously hoping to exploit the Oscar spoils.

Long after the movie was over, I keep hearing Jack Nicholson. "In this country, we don't come to a business meeting with automatic weapons, because in this country that don't add inches to your dick. It gets you in jail," he tells Chinese businessmen trying to buy stolen microprocessors from him.

Jack is playing Frank Costello, a mafia head based in Boston. But he is really playing himself or the screen persona that he has developed over the years. Not even Martin Scorsese, who has finally made a movie that audiences and critics alike have come to expect of him, can rein Jack in. Sometimes the swagger in Jack's tone is delicious, but in a couple of scenes it does grate a bit. Especially when he and DiCaprio are discussing the rat in their gang.

Scorsese has based his movie on the script of Infernal Affairs, a wildly popular Hong Kong film. Which is to say that screenwriter William Monahan said that he didn't see the original, instead choosing to just write his script based on the script of Infernal Affairs.

Jack gets the best of Monahan's lines; some of them will no doubt go on to become as famous as Travis's (Robert De Niro) monologues in Taxi Driver. The story revolves around Bill Costigan and Collin Sullivan played by Leonardo DiCaprio and Matt Damon. Collin is groomed from his early teens by Costello and he becomes the gang's man inside the Boston police department. Costigan, whose uncle is a don, wants to join the police department but is forced to go undercover within the Costello gang.

In his speech at the Oscars, Scorsese said this was the first movie he made with a plot and that might be true. It is impossible to write the plot for a movie like Goodfellas.

Scorsese, much more than Coppola, is the granddaddy of mafia movies. Much like Goodfellas, The Departed is not romantic. There is no glorification of violence. Rather, the end that most characters meet in the movie is a sort of moral lecture Scorsese is making; for instance, violence begets violence. But it is incredibly interesting anyway.

Movie Review: Aquirre, The Wrath of God by Werner Herzog

Nandhu — Sun, 3 Dec 2006 12:10:55 EST

In 1560 and 61, a group of conquistadors from Spain made a doomed attempt to invade El Dorado, the city of gold, according to legend. This movie by Werner Herzog was shot in the Amazon and its tributaries on a small budget.

Aquirre, played by Klaus Kinski, was the second-in-command in the expedition.
Upon arriving at a foot of a tall hill, Gonzalo Pizarro, who leads the expedition, sends a smaller troupe of soldiers on rafts to look for El Dorado. After a mutiny led by Aquirre, a noble is installed as the dummy Emperor of the land. Aquirre is the one who really controls the men. The group is killed off one by one by the Indians, who are never seen attacking in the movie.

Herzog, who wrote the screenplay of the movie during the course of playing in a soccer season, freely mixes fact and fiction. He came up with the sparse dialogue for the movie, often only minutes before the shot. When a river swelled flooding the location, he incorporated that into the script.

The strangest thing about the movie, which is full of strange happenings, is Kinski, who must be well over six feet. Kinksi was a friend of Herzog's and the two shared a strained relationship during the shooting.

Kinski, who has a long face and piercing blue eyes, invented a walk - jerks and sideways motions - that is scary. He also pretended that one of his arms was shorter than the other, and his costume, which he and Herzog designed together, is strapped to his body in such a way that it looks like he needs it to stay in one piece.

In the last shot, Aquirre is seen walking his crablike walk on the raft, long lost in wild river waters, still dreaming of the lost city of untold riches. He picks up a monkey murmuring that he is 'The Wrath of God', a ruthless dictator, who is capable of leading the people to El Dorado. But sadly, none in his group is still alive, and it seems unlikely that Aquirre, in his state of frenzied madness, will make it out of the jungle alive.

A movie-length interview that comes with the DVD helps us see the movie from the director's viewpoint. It may not be advisable to see the movie if you don't have the option of watching it once more along with the interview.

This is also an independent movie in the truest sense of the term. Herzog made the movie exactly like the way he wanted to, casting his surgeon and even a retarded beggar from the streets in the movie in small roles. The music by Florian Fricke, Herzog's friend, is a combination of natural sounds and instrumental music. Most of the customes - they are deliberately inappropriate - came from Berlin.

This movie is a series of arresting visuals shot in a documentary style, with the camera in constant fluid motion. What makes it great are Herzog's interpretations. Unless you are incredibly sensitive to them, you might miss understanding why this movie is so haunting.

Movie Review: Cars - Not As Bad As Made Out To Be

Nandhu — Thu, 12 Oct 2006 00:43:04 EDT

A few months ago, Cars, the latest movie from Pixar was released to mixed reviews. It was not received by reviewers with the same enthusiasm and glee that preceded movies made by the studio in the past.

Finding Nemo and The Incredibles are just a few in the unbroken series of remarkably successful films made by Pixar. So when Cars, which features no animals or humans, came out, everybody wanted to jump on it and say that this was Pixar's first failure since 1995 when it made Toy Story.

But that was good in a way because I went to the movie with low expectations. This is how the movie begins, with brief shots of a car race that keep fading to black (between the punctuations):

"Okay. Focus. Here we go. Speed. I am speed. One winner. 42 losers. I eat losers for breakfast. Breakfast? Sounds good. Maybe I should have had breakfast? Breakfast could be good for me. No no no. Focus. I am faster than fast, quicker than quick. I am Lightning."

That is Owen Wilson, who voices Lightning Mcqueen, the rookie racecar - brash, arrogant and ambitious, and with no friends.

The opening sequence is a grandly picturized sequence, with cars watching cars racing. Mcqueen ties the race with two cars and has to travel to California for the decider. But, in a cruel twist of fate, he gets stuck in Radiator Springs, a town that has gone off the map after the interstate highway was built in US in the 1960s.

Jesus Chrysler, ladies and gentlecars...the movie's endless puns on our common usages are funny and a bit excessive. Veteran actor Paul Newman is the car that won the Piston Cup three times in the 60s. He becomes Mcqueen's mentor, teaching him the finer points of racing.

In the forgotten town of Radiator Springs, Mcqueen will learn about racing and working, will form friends and fall in love. All the while the rookie car has to lay a road, which he accidentally ruined.

Sally, a Porsche, voiced by Bonnie Hunt, in a superbly envisioned sequence, tells him how Radiator Springs, once a boom city, had now become yesterday's story.

In this story lies the theme of the movie. Of unbridled development and the American dream gone wrong. (There are now officially more movies where the American dream goes wrong, starting with Citizen Kane). She also tells him of the need to slow down and enjoy life. As Sally puts it, before the interstate was built, "people didn't drive to make good time. They drove to have a great time".

Movie Review: Unakkum Enakkum (Something Something)

Nandhu — Sun, 1 Oct 2006 00:11:18 EDT

In the weeks since this movie's release, it amazes why nobody who saw this film mentioned its similarities with Maine Pyar Kiya.

When I watch films like this one, a part of me is embarrassed to be enjoying the show. Almost everything tells me that the movie is fake. But darn it, it's watchable too.

Ever since Rajshri films discovered that happily families on screen meant a lot of happy families in the cinema hall, the genre has been reduced to a charade. A chemical formula that is repeated endlessly to get the same result: success.
Manic hero + pretty heroine + their naivety + feel good factor + good songs + family values + all is well that ends well = success.

There are no grey areas. All characters are neatly divided into the bad ones and the good ones and given separate corners. Nobody is allowed to move from his or her corner.

Jayam Ravi is Santhosh, the hero, who is too old to be in college and too young to be in the office. Anyway, he is too rich to do any work. He is brash, sweet, and lovable. Ravi has enough charm to cakewalk through this role with his eyes closed.

Trisha is the pretty young thing, who is so na�ve, that you would want to fall in love with her for that alone; beautiful eyes and charming smile notwithstanding. She is brought up by her farmer brother - Prabhu who increasingly reminds me of his illustrious dad.

They meet at her friend's marriage and after the usual courtship rituals fall in love. All so good so far. But the villains - there are too many to count - can't stand the class differences.

I don't know how everybody sees this movie. But for me it works like a fairytale. Nothing is real. You almost expect angels to show up at any moment. Makes me wonder why so many movie critics insist on films being real. What is that hang up about? The couple who sat next to me had a wonderful time and that must count for something.

But what grates me is this movie could so easily have been made 50 years ago. And probably has been. So kudos to the cast and crew for making us enjoy a movie we have already seen.

They are the costume department, Jeyam Ravi and Prabhu and the composer. Without them the movie would have not been half as good. Do catch it on DVD.

Movie Review: The Manchurian Candidate

Nandhu — Tue, 5 Sep 2006 00:09:27 EDT

Political movies from Hollywood are often accused of being na�ve, lacking in acumen and foresight. Even movies like Munich and JFK from highly acclaimed directors have been widely criticised. Another fact is that many of these movies are also little seen. But for years, there was a movie that every director dabbling with politics would heartily recommend and that movie was The Manchurian Candidate (1962).

This movie too was little seen upon release and until a re-release in the late 1980s wasn't quite recognised. But that has all changed. In 2004, Jonathan Demme re-made the movie based on the Richard Condon novel of the same name. But the original is still considered by many to be the better version and probably the best political movie ever made.

That a similar assassination as shown in the original movie was carried out the following year - that of John F. Kennedy - has only bolstered the film's reputation. This may be unfortunate but might be a testimonial to the film's foresight.

During the Cold War, it was widely believed that the Russians had mastered the art of brainwashing. A brainwashed person would have no control over his own will and could be a puppet in his controller's hands.

The Manchurian Candidate deals with such a story, that of Raymond Shaw, who is awarded the Congressional Medal of Honour for showing exceptional bravery on the battlefield. But Major Marco, played by Frank Sinatra, is having recurring nightmares. He fears that there is something fishy with Raymond and his award.

Raymond Shaw's stepfather is a politician, Senator Iselin, who has made a career by alleging that Communists have infiltrated every major US government department. Iselin was modeled on Senator McCarthy, who headed a committee responsible for weeding out Communists from the US. Later on, it becomes clear that Shaw and his entire team of soldiers have been brainwashed during the Korean War. But by whom and to what end?

It's a brilliant movie from John Frankenheimer. Janet Leigh of Psycho fame stars as Sinatra's love interest. Their romance that ignites as if soaked in kerosene is as odd as it is convincing.

Angela Lansbury plays the role of a lifetime as Raymond's mother. But it was Sinatra who was singularly responsible for the movie ever getting made. It was only after he got on board the project took off. This was a highly risky movie at that time to make with such a controversial subject. It didn't help the movie that it also had a very complex storyline, which though tame by today's standards, was really controversial in the 1960s. For anybody interested in the Cold War and its representation in Hollywood movies, this film is a must watch.

Movie Review: Elizabethtown

Nandhu — Sun, 3 Sep 2006 13:15:13 EDT

Cameron Crowe is the director of two movies I absolutely adore, Jerry Maguire and Almost Famous. I haven't seen Vanilla Sky yet, but didn't want to miss Elizabethtown as well. Last night I saw the movie on DVD. The movie isn't great but is the kind of small well-made film I love.

The movie is about two deliciously eccentric characters who fall in love in the middle of the wackiest memorial service ever. Orlando Bloom plays Drew Baylor, a shoe designer, who has just lost his job after he loses the company 972 million dollars, which can be "rounded off to one billion dollars". The shoe he designs flops, and in a week the news would be out. This is the week that the story is set in.

Drew is "saved" by his father's sudden death in his hometown of Elizabethtown. He now has to go and take care of his dad's funeral. On the way, he meets Claire (Kirsten Dunst), an air hostess. Claire is just the sort of girl anybody would want to meet when they are feeling blue. She is cute, bubbly, vivacious and full of bustling energy.

Arriving at Elizabethtown, Drew goes around offering everybody his condolences until he is told that they are usually incoming when you have lost your dad. Earlier, at his company Drew does a similar sort of a thing. Whenever he runs into someone, he says "I am fine". You really have to watch both scenes to know what I am talking about. They are hilarious.

Elizabethtown is also a first class example of a movie that stands apart from the rest by the sheer quality of its writing. Sample the lines that end the movie:

Drew: No true fiasco ever began as a quest for mere adequacy. A motto of the British Special Air Force is: 'Those who risk, win.' A single green vine shoot is able to grow through cement. The Pacific Northwestern salmon beats itself bloody on it's quest to travel hundreds of miles upstream against the current, with a single purpose, sex of course, but also... life.

Much of the writing is terse and snappy and has a wonderful quality to it. Phrases like the "flurry of our almost-romance" dot the screenplay.

Cameron Crowe is also a big fan of Bob Dylan. In fact, he wrote the liner notes and designed the book you get along with Biograph, the three-CD collection of Dylan songs. Crowe also has a great ear for music. Elizabethtown too has one hell of a soundtrack just like Crowe's previous movies.

If you like the odd sort of romantic movies, a staple American diet really, this is your kinda movie.

Movie Review: Good Night, and Good Luck, Full of Atmosphere

Nandhu — Sat, 12 Aug 2006 00:05:20 EDT

Good night, and Good Luck is George Clooney's recent film on Edward R. Murrow, the CBS newscaster and radio host, who took on Senator McCarthy during the early 1950s when the Senator was catching communists in the US.

The title of the movie is Murrow's famous line that he used to sign-off his show. George Clooney plays the producer of See it Now, the show that Murrow is anchoring. The movie is shot in black and white and is quite atmospheric as a result. It is an intense movie punctuated by three to four jazz songs. After Clooney won this year's best supporting actor Oscar for Syriana, he remarked that he had lost in the director's Oscar for which he was also nominated. May be he was a trifle disappointed.

I think Clooney is using the movie to reflect on today's low standards in journalism, particularly on TV, and to tell the story of the communist witch-hunt.
The movie begins with Murrow's speech at a function in which he is being honoured. In the flashback, Murrow puts on air the story of a solider, who has been unfairly dismissed from the army on the grounds that his father is a communist.

A battle with McCarthy ensues, Murrow goes after McCarthy, the senator hits back and then in the battle between the newsman and the politician, the journalist wins.

Most of the movie is set in the CBS set for the show. It moves alternatively at a hectic and a lazy place. Hectic when the show is on and lazy when the journalists are just sitting together smoking and talking.

Murrow is deeply concerned about the quality of news, a concern that is reflected in his writing for the show, which even by modern standards is quite intellectually challenging. Murrow doesn't want the idiot box to "amuse, insulate and distract". He wants it to "educate and to inspire". Otherwise, he warns that it would be just a box of "wires and lights".

For a glamorous pin-up like Clooney, the star of movies such as Ocean's Eleven, this movie is an unlikely choice. But it's clear that Clooney's heart is in it. He isn't trying to be pretentious. He really believes that the story ought to be told, and in the process makes old-fashioned qualities like integrity look sexy.

Movie Review: Pudhupettai - Celebrating the Obscene and the Guttural

Nandhu — Tue, 30 May 2006 15:12:35 EDT

Pudhupettai chronicles the life of 'Kokki' Kumar, a superhero who single-handedly murders almost the entire cast of the movie in his ascendancy to political power.

This is cinema that celebrates the vulgar and the obscene. Violence is stylized and omnipresent, dialogue is guttural, and the acting, particularly by Dhanush, who plays Kumar, is both spontaneous and over the top.

Selvaraghavan, at the helm of his third film, makes his canvas, bigger, bolder, and darker. Scratch the surface and you might find that the screenplay is still filled with clichés. But these are somehow reassuring in a film that devoid of them would have been reduced to an oddity.

The story begins with Kumar, who after fleeing home and begging in the streets, joins a gang that controls Chennai's drugs, prostitutes and politics. Starting a career selling ganja on the streets, Kumar, in a series of scenes written with Dhanush's scrawny body in mind, soon joins the murderous mayhem his gang is unleashing on the city.

The first half of the movie ends with Kumar wiping off his enemies and firmly establishing himself as the alpha male among gangsters. This sequence is clearly inspired by Godfather's famous climatic baptism sequence in which Michael Carleone (Al Pacino) ruthlessly kills to establish his power. The last shot before the interval of Kumar looking at the city he has conquered with a bitter expression on his face is perhaps the best in the movie.

Prostitutes in Tamil movies are usually pure and untouched when the hero meets them. Thankfully, Sneha's Selvi is no such oddity. And the love between the prostitute and the gangster is not glorified. Sneha stays within limitations and delivers a credible performance.

But for a few minutes after the interval, with the introduction of Sonia Agarwal, the movie comes dangerously close to lapsing into a family drama. For a while it looks like Selvaraghavan, entranced with his own heroine, might lead his movie to disaster.

But with a few strokes, this chapter, the movie's wildest and weakest, is worked into the main theme. Kumar's impulsive marriage seems to deliver that holy shrine of Tamil moviedom a neat little kick in the ass, the thali sentiment. Dhanush is at his best in these scenes. Thanks to him, portrayal of street rowdyism becomes refreshing and believable.

By most parameters that define traditional actors, Dhanush can only be rated as pathetic. But by being this alive to the role and approaching it with such conviction and voracity, the actor does dispel most doubts likely to arise in audience's mind of his suitability in playing a gangster.

Selvaraghavan has never made movies that are pleasant. Sacrificing logic for the sake of drama, the director has yet again delivered a powerful and emotionally vibrant film.

Movie Review: Iqbal: Inspiring Tale Of A Cricketer

Nandhu — Sun, 21 May 2006 00:07:50 EDT

Iqbal is in many ways the first of its kind movie in Hindi. I don't remember seeing a Hindi or Tamil sports movie. Lagaan was not about sports really, and if Nagesh Kukunoor is to be believed neither is Iqbal.

He claims it's about the human spirit, but the only spirited performance from the movie comes from Nazeeruddin Shah.

Entering the movie only after its twentieth minute, Nazeeruddin, playing the town drunk, brings a kind of freshness that Kukunoor is probably desperate for. Sports movies about underdogs are nothing new. From Rocky to Million Dollar Baby, Hollywood has made a few every year.

But Kukunoor has beaten everybody to the box office. But the heaviness with which he handles the subject is just a little too much - the deliberate and contrived style of editing, the heavy score and the one song that underlines Iqbal's early training days are all tacky stuff.

The story is pretty simple. Iqbal, a dumb and deaf 18-year-old, makes an unlikely journey from talented but untrained bowler to land a place in Team India in a matter of months.

On the way, he has to deal with the wrath of his father, who hates cricket and wants him to be a farmer; and then a snobbish, deal-making coach who throws him out of the cricket academy after an incident with the local 'Richie Rich', and most of the time, just the process of discovering and believing in himself.

He has two staunch supporters, who support his dream, his mom and his bespectacled sister. Here is where Kukunoor Indianises the movie. In a clever move, he throws out the mandatory lover-supporter of the underdog sportsperson from the screenplay and puts in the sister and mother.

But the journey while being interesting is not full of surprises. The best cricketing scene is the one with the numbered buffaloes. Iqbal has to bowl in such a way that his coach can only hit the ball on a particular buffalo which only the bowler can see.
After Iqbal convinces the ex-cricketer and now alcoholic Mohit to coach him, they jointly begin training. Iqbal becomes a cricketer, as expected and Mohit almost gives up alcohol and enjoys a second life of sorts.

Shreyas Talpade is all right as Iqbal but I would wait till a couple of movies are released before making an assessment of his acting. Girish Karnad is good too, but the playwright is not really such a great actor. Or may be he is too subtle that I can't tell.

But what really ruined the movie for me was its utter predictability. Just because there is no one running around trees on screen, a movie cannot be called great. I find the euphoria surrounding the movie upon its release stupid. And Kukunoor is consistent in only one way. Just like in Hyderabad Blues, this film's climax is also pure junk.