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Godfather review: రివ్యూ: గాడ్‌ ఫాదర్‌

Godfather review: చిరంజీవి, సల్మాన్‌ కీలక పాత్రల్లో నటించిన ‘గాడ్‌ఫాదర్‌’ సినిమా ఎలా ఉందంటే?

Godfather review: చిత్రం: గాడ్‌ఫాదర్‌; నటీనటులు: చిరంజీవి, సల్మాన్‌ఖాన్‌, నయనతార, సత్యదేవ్‌, పూరిజగన్నాథ్, మురళీశర్మ తదితరులు; సంగీతం: ఎస్‌ఎస్‌ తమన్‌; సినిమాటోగ్రఫీ: నీరవ్‌ షా; ఎడిటింగ్‌: మార్తాండ్‌ కె. వెంకటేశ్‌; నిర్మాత: రామ్‌చరణ్‌, ఆర్బీ చౌదరి. ఎన్వీ ప్రసాద్‌; స్క్రీన్‌ప్లే, దర్శకత్వం: మోహన్‌రాజా; విడుదల: 05-10-2022

చిరంజీవి సినిమా వస్తుందంటే ఆయన అభిమానులకే కాదు.. ప్రతి తెలుగు ప్రేక్షకుడికీ ఆసక్తి ఉంటుంది. రీఎంట్రీ తర్వాత వరుస సినిమాలు చేస్తున్న ఆయనకు ఈ ఏడాది ‘ఆచార్య’ కాస్త గట్టిగానే షాక్ ఇచ్చింది. అయితే, ఈ దసరాకు ‘గాడ్‌ఫాదర్‌’గా తనదైన వినోదాన్ని పంచడానికి సిద్ధమయ్యారు. మలయాళంలో ఘన విజయం సాధించిన ‘లూసిఫర్‌’ రీమేక్‌గా మోహన్‌రాజా దీన్ని తెరకెక్కించారు. మరి కింగ్‌ మేకర్‌గా చిరు ఎలా చేశారు? (Godfather review) మాతృకతో పోలిస్తే ఏవి మెరుగ్గా ఉన్నాయి? సల్మాన్‌, నయన్‌, సత్యదేవ్‌ పాత్రలు అదనపు ఆకర్షణ తెచ్చాయా?

కథేంటంటే: రాష్ట్ర ముఖ్యమంత్రి పి.కె.రామదాసు (పీకేఆర్‌) మరణం తర్వాత రాజకీయ శూన్యం ఏర్పడుతుంది. సీఎంగా ఎవరిని ఎంపిక చేయాలన్నదానిపై జన జాగృతి పార్టీ (జేజేపీ) తర్జనభర్జన పడుతుంటుంది. పీకేఆర్‌ స్థానంలో అధికారాన్ని హస్తగతం చేసుకుని సీఎం కావాలని అతడి అల్లుడు జైదేవ్‌ (సత్యదేవ్‌) భావిస్తాడు. అందుకు పార్టీలోని కొందరు దురాశపరులతో చేతులు కలుపుతాడు. అయితే, పీకేఆర్‌కు అత్యంత సన్నిహితుడు, ప్రజాదరణ కలిగిన నాయకుడు బ్రహ్మ తేజ (చిరంజీవి) మాత్రం జైదేవ్‌ సీఎం కాకుండా అడ్డు నిలబడతాడు. జన జాగృతి పార్టీ నుంచి, అసలు ఈ లోకం నుంచే బ్రహ్మను పంపించడానికి జైదేవ్‌ కుట్రలు పన్నుతాడు. మరి ఆ కుట్రలను బ్రహ్మ ఎలా ఎదుర్కొన్నాడు? జైదేవ్‌ నీచుడన్న విషయం జైదేవ్‌ భార్య సత్యప్రియ (నయనతార)కు ఎలా తెలిసింది? రాష్ట్ర పాలన దురాశపరుల చేతిలో పడకుండా బ్రహ్మ ఎలా అడ్డుకున్నాడు? ఇంతకీ బ్రహ్మకు, పీకేఆర్‌కు ఉన్న సంబంధం ఏంటి? (Godfather review) మధ్యలో మసూద్‌ భాయ్‌ (సల్మాన్‌) ఎవరు? తెలియాలంటే సినిమా చూడాల్సిందే.

ఎలా ఉందంటే:  ‘‘గాడ్‌ ఫాదర్‌’ స్క్రీన్‌ప్లే కొత్తగా, ఆశ్చర్యకరంగా ఉంటుంది. మలయాళంలో చూడని పది పాత్రలు ఇందులో వేరే రూపంలో ఉంటాయి. ఇవన్నీ సర్‌ప్రైజింగ్‌గా ఉంటాయి. ఓపిక ఉంటే ‘లూసిఫర్‌’ని మరోసారి చూసి రండి’’ - ఇదీ ఇటీవల ఇంటర్వ్యూలో దర్శకుడు మోహన్‌రాజా చెప్పిన విషయం. తన స్క్రీన్‌ప్లే, మార్పులపై ఎంత నమ్మకంతో చెప్పారో దాన్నే తెరపై చూపించడంలో విజయం సాధించారు దర్శకుడు. ‘లూసిఫర్‌’ చూసిన వాళ్లు కూడా ‘గాడ్‌ఫాదర్‌’ను ఎంజాయ్‌ చేస్తారు. పీకేఆర్‌ మరణంతో సినిమా మొదలు పెట్టిన దర్శకుడు, కొద్దిసేపటికే అసలు కథేంటి? సినిమాలో పాత్రల తీరుతెన్నులు వివరంగా చెప్పేశారు. ఇక ప్రేక్షకుడు చూడాల్సింది తెరపై కనిపించే రాజకీయ చదరంగమే.

ఈ చదరంగంలో రెండు బలమైన పావులుగా ఒకవైపు బ్రహ్మగా చిరంజీవి, జైదేవ్‌గా సత్యదేవ్‌లు నిలబడ్డారు. ఒక్కో సన్నివేశంలో ఒక్కొక్కరిది పై చేయి ఉంటుంది. అయితే, బ్రహ్మ పాత్ర కీలకం కావడంతో అంతర్లీనంగా అతడే ఒక మెట్టుపైన ఉంటాడు. (Godfather review) చిరంజీవి కనిపించే ప్రతి సన్నివేశమూ ఆయన్ను ఎలివేట్‌ చేసిన విధానం స్టైలిష్‌గా బాగుంది. ఆ సన్నివేశాలకు తమన్‌ నేపథ్యం సంగీతం థియేటర్‌ను ఓ ఊపు ఊపేసింది.

జన జాగృతి పార్టీ పగ్గాలు బ్రహ్మ చేపట్టకుండా జైదేవ్‌, అతడి మద్దతుదారులు చేసే పయత్నాలు, వాటిని బ్రహ్మ తిప్పి కొట్టడం ఇలా ప్రతి సన్నివేశమూ నువ్వా-నేనా అన్నట్లు ప్రథమార్ధం సాగుతుంది. విరామ సన్నివేశానికి ముందు జైలులో చిరు ఫైట్‌, సంభాషణలు అభిమానులు మెచ్చేలా ఉన్నాయి. ఆ తర్వాత సల్మాన్‌ రాకతో అసలు ట్విస్ట్‌ మొదలవుతుంది. అసలు బ్రహ్మ ఎవరు? మసూద్‌ గ్యాంగ్‌ అతడిని ఎందుకు సపోర్ట్‌ చేస్తుంది? జైదేవ్‌ కుట్రలను బ్రహ్మ ఎలా ఛేదించుకుంటూ వచ్చాడు? ఇలా ద్వితీయార్ధం ఒక రెగ్యులర్‌ కమర్షియల్‌ ఫార్మాట్‌లో సాగుతుంది. ప్రథమార్ధంలో ఉన్నంత డ్రామా, ఎలివేషన్స్‌ ద్వితీయార్ధానికి వచ్చే సరికి కాస్త రొటీన్‌ అనిపిస్తాయి. (Godfather review) పతాక సన్నివేశాల్లో పెద్దగా మెరుపులేవీ ఉండవు. అయితే, ఒకవైపు చిరంజీవి, మరోవైపు సత్యదేవ్‌లు తమ నటనతో అవి కనిపించకుండా చేశారు.  ప్రతి సన్నివేశాన్నీ చిరు అభిమానులు మెచ్చేలా మోహన్‌రాజా తీర్చిదిద్దారు. హీరోయిజం ఎలివేట్‌ అయ్యేలా యాక్షన్‌ సన్నివేశాలను తీర్చిదిద్దిన విధానం బాగుంది.

ఎవరెలా చేశారంటే: బ్రహ్మతేజ పాత్రలో ప్రజాదరణ కలిగిన నాయకుడిగా, మాస్‌ హీరోగా చిరంజీవి ఒదిగిపోయారు. తన అనుభవాన్ని అంతా రంగరించి చాలా సెటిల్డ్‌గా నటించారు. ఇక్కడ మోహన్‌లాల్‌ నటనతో చిరంజీవి నటన పోల్చాల్సిన అవసరం లేదు. ఇద్దరూ అగ్ర కథానాయకులే. ఎవరి నటనా ప్రతిభ వారిది.  ప్రతినాయకుడు జైదేవ్‌గా సత్యదేవ్‌ మెప్పించారు. స్టైలిష్‌ విలనిజం చూపించారు. సినిమాలో సత్యదేవ్‌ ఎక్కడా కనిపించలేదు. జైదేవ్‌గా అధికార దాహం కలిగిన విలన్‌గా ఒదిగిపోయారు. నయనతార, మురళీశర్మ, సునీల్‌, బ్రహ్మాజీ వారి పాత్రలకు న్యాయం చేశారు. పూరి జగన్నాథ్‌, షఫీ పాత్రలు ప్రత్యేక ఆకర్షణగా నిలిచాయి. తమన్‌ సంగీతం ఓకే. నేపథ్య సంగీతంతో సినిమాను ఎలివేట్‌ చేయడంలో అతడికి అతడే సాటి. చిరు పరిచయ సన్నివేశాలు, యాక్షన్‌ సన్నివేశాలు బాగా ఎలివేట్‌ అయ్యాయి. (Godfather review) నీరవ్‌ షా సినిమాటోగ్రఫీ డీసెంట్‌. మార్తాండ్‌ కె.వెంకటేశ్‌ ఎడిటింగ్‌ షార్ప్‌గా ఉంది. ఇక్కడ ప్రధానంగా చెప్పుకోవాల్సిన మరో వ్యక్తి రచయిత లక్ష్మీ భూపాల. ఇప్పటికే విడుదల చేసిన ప్రచార చిత్రాల్లో చిరు పలికిన సంభాషణలు ఆకట్టుకోగా.. థియేటర్‌లో విజిల్స్‌ వేయించాయి. వర్తమాన రాజకీయాలపై వేసిన సెటైర్లు బాగున్నాయి. చిరంజీవి అభిమానులు ఏం కోరుకుంటారో వాటన్నింటినీ రంగరించి దర్శకుడు మోహన్‌రాజా ‘లూసిఫర్‌’ను రీమేక్‌ చేశారు. దసరా సెలవుల్లో ‘గాడ్‌ఫాదర్‌’ మాస్‌ ఎంటర్‌టైనర్‌గా అలరిస్తాడు.

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గమనిక: ఈనాడు.నెట్‌లో కనిపించే వ్యాపార ప్రకటనలు వివిధ దేశాల్లోని వ్యాపారస్తులు, సంస్థల నుంచి వస్తాయి. కొన్ని ప్రకటనలు పాఠకుల అభిరుచిననుసరించి కృత్రిమ మేధస్సుతో పంపబడతాయి. పాఠకులు తగిన జాగ్రత్త వహించి, ఉత్పత్తులు లేదా సేవల గురించి సముచిత విచారణ చేసి కొనుగోలు చేయాలి. ఆయా ఉత్పత్తులు / సేవల నాణ్యత లేదా లోపాలకు ఈనాడు యాజమాన్యం బాధ్యత వహించదు. ఈ విషయంలో ఉత్తర ప్రత్యుత్తరాలకి తావు లేదు.

రివ్యూ: కృష్ణమ్మ.. సత్యదేవ్‌ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ: ప్రతినిధి2.. నారా రోహిత్‌ పొలిటికల్‌ డ్రామా ఎలా ఉంది?

రివ్యూ: ఆవేశం.. రూ.150 కోట్లు వసూలు చేసిన మలయాళ బ్లాక్‌ బస్టర్‌ ఎలా ఉంది?

రివ్యూ: ప్రణయ విలాసం.. ‘ప్రేమలు’ హీరోయిన్‌ నటించిన సినిమా ఎలా ఉందంటే?

రివ్యూ : బాక్‌.. తమన్నా, రాశీఖన్నాల హారర్‌ మూవీ ఎలా ఉంది

రివ్యూ: ఆ ఒక్కటీ అడక్కు.. అల్లరి నరేష్‌ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ: శబరి.. వరలక్ష్మీ శరత్‌కుమార్‌ నటించిన థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: ప్రసన్నవదనం.. సుహాస్‌ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ హీరామండి: ది డైమండ్‌ బజార్‌.. సంజయ్‌లీలా భన్సాలీ ఫస్ట్‌ వెబ్‌సిరీస్‌ ఎలా ఉంది?

రివ్యూ: క్రాక్‌.. విద్యుత్‌ జమ్వాల్‌ స్పోర్ట్స్‌ యాక్షన్‌ ఫిల్మ్‌ ఎలా ఉందంటే?

రివ్యూ: రత్నం.. విశాల్‌ నటించిన యాక్షన్‌ డ్రామా మెప్పించిందా?

రివ్యూ: ఆర్టికల్‌ 370.. యామి గౌతమ్‌, ప్రియమణి నటించిన పొలిటికల్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: మై డియర్‌ దొంగ.. అభినవ్‌ గోమఠం నటించిన సినిమా ఎలా ఉందంటే?

రివ్యూ: సైరెన్‌.. జయం రవి, కీర్తి సురేశ్‌ యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: పారిజాత పర్వం.. క్రైమ్‌ కామెడీ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: ఆట్టం.. మలయాళ సస్పెన్స్‌ డ్రామా ఎలా ఉంది?

రివ్యూ: డియర్‌.. భార్య గురకపెట్టే కాన్సెప్ట్‌తో రూపొందిన ఈ మూవీ మెప్పించిందా?

రివ్యూ: శ్రీ రంగ‌నీతులు.. సుహాస్‌, కార్తీక్‌ రత్నంల కొత్త మూవీ మెప్పించిందా?

రివ్యూ: బ‌డే మియా ఛోటే మియా.. అక్షయ్‌, టైగర్‌ ష్రాఫ్‌ నటించిన యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: గీతాంజలి మళ్ళీ వచ్చింది.. హారర్‌ కామెడీ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: లవ్‌గురు.. విజయ్‌ ఆంటోనీ మూవీ ఎలా ఉంది?

తాజా వార్తలు (Latest News)

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సీఎస్‌ జవహర్‌రెడ్డి వివరణపై స్పందించిన ఈసీ

కేజ్రీవాల్‌ విడుదల.. తిహాడ్‌ జైలు వద్ద ప్రజలకు అభివాదం

28 వేల మొబైల్స్‌ బ్లాక్‌ చేయండి.. టెల్కోలకు డాట్‌ ఆదేశం

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GodFather movie review: Chiranjeevi's unmatched charisma gives this fun political thriller many whistle-worthy moments

Godfather movie review: chiranjeevi-starrer remake of lucifer is clichéd, mindless, and yet immensely enjoyable, largely due to the star’s screen presence and salman khan’s explosive cameo..

GodFather, the Telugu remake of Mohanlal’s mega hit Lucifer, is a heady concoction of clichés, crowd-pleasing moments, larger-than-life fights, and some complex plot twists. And yet, it never gets too much and remains enjoyable for most parts. You even learn to look past the silliness of it all. And it’s all because of the charisma and towering screen presence of Chiranjeevi . The boss is truly back and he has chosen the perfect vehicle, a massy masala entertainer that gets the audience cheering and whistling. Also read: GodFather Twitter reviews: Fans react to Chiranjeevi’s remake of Lucifer

GodFather is part political thriller, part mindless action film. It follows the death of a revered chief minister PKR and the infighting to choose his successor. The contenders are the amibitious home minister Narayan Varma (a delightful but slightly over Murali Sharma) and PKR’s son-in-law Jaidev (Satyadev Kancharana). But there is also the mysterious kingmaker Brahma (Chiranjeevi), who holds the reins of power in the state. What follows is a game of political cat and mouse with each politician trying to outfox the other.

GodFather follows in the footsteps of massy hits like Pushpa: The Rise and KGF: Chapter 2 from earlier this year. In some parts, it lacks the heart and finesse of a Pushpa and the grandeur of KGF. Yet, it balances the two quite well. The script falters, partly because there is a lack of one for large portions of the film. In trying to be clever, it wanders into the unintentionally funny territory at times. It is not a cerebral political thriller in the genre of a Rajneeti or Leader. It is an action film disguised as one, but disguised quite well.

The film is high on drama, lacks subtlety, and uses every cliché out there. When the hero enters, everything is in slo-mo, leaves fly, people faint. When he goes to prison, he is automatically qaidi number 786. The film screams 90s. But then that’s Chiranjeevi’s strength. He became India’s number one star in the early 90s doing many similar films. And he turns back the clock here splendidly.

GodFather works only when Chiranjeevi is on screen. Although the director’s choice to give him a grand entry ‘every’ time he walks into the frame gets old pretty fast, the veteran actor more than holds his own. He carries the film on his back, lending his stardom and screen presence to otherwise loose scenes and salvaging them. He works best when he is not kicking butt though. It is the scenes in which he very understatedly showcases his power and influence are what shine through. There are a lot of whistle-worthy moments in the film owing to Chiranjeevi’s inherent swag.

In the supporting cast, Murali Sharma and Satyadev Kancharana as the two ambitious politicians stand out. Satyadev, in particular, as the Machiavellian Jai, is a treat to watch. Murali Sharma shows just what he is capable of. It’s a pity Bollywood hasn’t truly utilized him yet. The biggest flaw of the film is to relegate Nayanthara to the background. Having an actor of her caliber and a star of her stature is a bonus to any film and yet GodFather chooses to let the men take centre stage. That she still manages to leave her mark despite a limited screen time only makes this decision even more puzzling.

And then there is Salman Khan . He has a cameo in the film that drew the loudest cheers and whistles in the theatre that I was at. In what can only be described as the most Salman role ever, he appears in an explosive role that not only adds to the film’s overall swag quotient but shows a more brutal, ruthless side of the actor that Bollywood hasn’t explored of late. The scenes with both Chiranjeevi and Salman together really light up the screen.

GodFather has its flaws, and they are countless, to be honest. But the packaging is so slick that you prefer to overlook most of them. Because I went to watch the film with lowered expectations and I did not bother comparing it to Lucifer, I was able to actually enjoy the film. If you are prepared to do the same, and watch Chiranjeevi in his element, you may too.

Director: Mohan Raja

Cast: Chiranjeevi, Nayanthara, Satyadev Kancharana, Murali Sharma, Puri Jaggannadh, and Salman Khan.

Abhimanyu Mathur is an entertainment journalist with Hindustan Times. He writes about cinema, TV, and OTT, churning out interviews, reviews, and good old news stories. ...view detail

• Chiranjeevi
• Salman Khan

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సమీక్ష : “గాడ్ ఫాదర్” – ఎమోషనల్ మాస్ ఎంటర్ టైనర్!

విడుదల తేదీ : అక్టోబర్ 05, 2022

123తెలుగు.కామ్ రేటింగ్ : 3.25/5

నటీనటులు: చిరంజీవి, సల్మాన్ ఖాన్, నయనతార, పూరీ జగన్నాధ్, సత్య దేవ్, సముద్రఖని, మురళీ శర్మ, సునీల్, బ్రహ్మాజీ

దర్శకత్వం : మోహన్ రాజా

నిర్మాతలు: రామ్ చరణ్, ఆర్ బి చౌదరి, ఎన్ వి ప్రసాద్

సంగీతం: థమన్ ఎస్

సినిమాటోగ్రఫీ: నీరవ్ షా

ఎడిటర్: మార్తాండ్ కె. వెంకటేష్

సంబంధిత లింక్స్ : ట్రైలర్

మెగాస్టార్ చిరంజీవి హీరోగా మోహన్ రాజా దర్శకుడిగా వచ్చిన చిత్రం ‘గాడ్ ఫాదర్’. భారీ అంచనాల మధ్య ఈ వచ్చిన పొలిటికల్ థ్రిల్లర్ ఈ రోజు విడుదల అయింది. మరి ఈ చిత్రం, ఆడియన్స్‌ను ఏ మేరకు మెప్పించిందో సమీక్షలోకి వెళ్లి తెలుసుకుందాం !

బ్రహ్మ (చిరంజీవి) తక్కువ సమయంలోనే రాష్ట్రంలో బలమైన వ్యక్తిగా ఎదుగుతాడు. రాష్ట్ర ముఖ్యమంత్రి పి.కె.అర్ వెనుక అండగా నిలబడతాడు. అయితే, చిన్న తనం నుంచి పి.కె.అర్ కుమార్తె సత్యప్రియ (నయనతార) బ్రహ్మను ద్వేషిస్తూ ఉంటుంది. దాంతో తన భర్త జయ్ దేవ్ (సత్య దేవ్) ను ముఖ్యమంత్రి చేయాలని ప్రయత్నం చేస్తోంది. మొత్తానికి కాబోయే ముఖ్యమంత్రి ఎవరు ? అనే నేపథ్యంలో జరిగిన కొన్ని నాటకీయ పరిణామాల మధ్య బ్రహ్మ ఏం చేశాడు ?, అసలు బ్రహ్మ ఎవరు ?, గాడ్ ఫాదర్ గా అతని గత జీవితం ఏమిటి?, ఈ మధ్యలో మసూన్ భాయ్ (సల్మాన్ ఖాన్) పాత్ర ఏమిటి ?, చివరకు బ్రహ్మ ఎవర్ని ముఖ్యమంత్రిని చేశాడు? దాని కోసం ఎలాంటి పరిస్ధితులను ఎదురుకున్నాడు? లాంటి విషయాలు తెలియాలంటే వెండితెర పై ఈ చిత్రాన్ని చూడాల్సిందే.

ప్లస్ పాయింట్స్ :

గాడ్ ఫాదర్ గా, బ్రహ్మ గా నటించిన మెగాస్టార్ చిరంజీవి ఎప్పటిలాగే తన నటనతో ఈ సినిమాలో ఉత్తమమైన నటనను కనబర్చారు. ముఖ్యంగా కొన్ని ఎమోషనల్ అండ్ యాక్షన్ సన్నివేశాల్లో అలాగే క్లైమాక్స్ లో తీవ్రమైన భావోద్వేగాలను పండించిన ఆయన నటన సినిమాకే హైలెట్ గా నిలుస్తోంది. ముఖ్యమంత్రి కుమార్తెగా నటించిన నయనతార తన నటనతో కీలకమైన తన పాత్రకు పూర్తి న్యాయం చేశారు. ముఖ్యంగా కొన్ని కీలకమైన దృశ్యాల్లో ఆమె నటన ఆకట్టుకుంటుంది.

ఇక ఈ సినిమాలో విలన్ పాత్రలో నటించిన సత్యదేవ్ ఎప్పటిలాగే తన నటనతో మెప్పించాడు. ముఖ్యంగా తన నిజ స్వరూపం గురించి నయనతార కు చెప్పే సన్నివేశంలో సత్యదేవ్ నటన చాలా బాగుంది. అతిధి పాత్రలో నటించిన సల్మాన్ ఖాన్ తన యాక్షన్ తో అదరగొట్టాడు. మాస్ ప్రేక్షకులకు ఫుల్ కిక్ ఇచ్చాడు. సునీల్, బ్రహ్మాజీ కూడా తమ పాత్రల్లో చక్కగా నటించారు.

మురళీమోహన్, అనసూయ అలాగే మిగిలిన నటీనటులు కూడా తమ పాత్రల పరిధి మేరకు బాగానే చేశారు. దర్శకుడు మోహన్ రాజా సినిమాలో చెప్పాలనుకున్న స్టోరీ థీమ్ బాగుంది. అలాగే ఆయన టేకింగ్ కూడా చాలా బాగుంది.

మైనస్ పాయింట్స్ :

మోహన్ రాజా మంచి స్టోరీ థీమ్ తీసుకున్నప్పటికీ.. టిపికల్ నేరేషన్ తో, కొన్ని చోట్ల ఈ పొలిటికల్ డ్రామాను పూర్తి స్థాయిలో ఆకట్టుకునే విధంగా మలచలేకపోయారు. అయితే కొన్ని ఎమోషనల్‌ సన్నివేశాలతో దర్శకుడు ఆకట్టుకునే ప్రయత్నం చేసినప్పటికీ.. సినిమాలో కొన్ని కీలక సన్నివేశాలు స్లోగా సాగుతాయి.

ఇక కంటెంట్ మరియు ఆర్టిస్ట్ ల పరంగా చూసుకుంటే సినిమా మీద ప్రేక్షకుడికి పూర్తి స్థాయిలో ఇంట్రస్ట్ పుట్టించే స్కోప్ ఉన్నప్పటికీ దర్శకుడు ఆ ఎలిమెంట్స్ ను వదిలేసి అనవసరమైన సన్నివేశాలతో సినిమాని నింపేశాడు. మొత్తానికి సినిమా నిండా ఎమోషన్ ఉన్నా.. ప్రేక్షకుడు ఇన్ వాల్వ్ అయ్యే విధంగా మాత్రం, ఆ ఎమోషన్ సరిగ్గా ఎలివేట్ కాలేదు.

సాంకేతిక విభాగం :

ఇక సాంకేతిక నిపుణుల గురించి మాట్లాడుకుంటే.. ముందే చెప్పుకున్నట్లు దర్శకుడు మోహన్ రాజా టేకింగ్ బాగుంది. అయితే, మంచి కంటెంట్ తీసుకున్నా దాన్ని పూర్తిగా వాడుకోలేకపోయారు. ఆయన రాసిన స్క్రీన్ ప్లే కొన్ని చోట్ల స్లోగా సాగుతుంది. సంగీత దర్శకుడు థమన్ ఎస్ అందించిన సంగీతం పర్వాలేదు. ఐతే బ్యాక్ గ్రౌండ్ స్కోర్ మాత్రం కొన్ని కీలక సన్నివేశాల్లో ఆకట్టుకునేలా ఉంది. నీరవ్ షా సినిమాటోగ్రఫీ వర్క్ చాలా బాగుంది. ఇక ఎడిటర్ ఎడిటింగ్ వర్క్ కూడా పర్వాలేదు. నిర్మాత పాటించిన నిర్మాణ విలువలు చాలా బాగున్నాయి.

గాడ్ ఫాదర్ అంటూ వచ్చిన ఈ పొలిటికల్ డ్రామా బాగానే ఆకట్టుకుంది. మెగాస్టార్ చిరంజీవి తన నటనతో సినిమా స్థాయిని పెంచారు. నయనతార, సల్మాన్ ఖాన్ ఈ సినిమాకి ప్లస్ అయ్యారు. కానీ కొన్ని చోట్ల స్లో నేరేషన్, బోరింగ్ సీన్స్ వంటి అంశాలు సినిమాకి మైనస్ అయ్యాయి. ఓవరాల్ గా ఈ పొలిటికల్ డ్రామాలో కొన్ని ఎలిమెంట్స్ మాత్రం బాగా ఆకట్టుకుంటాయి. మెగా ఫ్యాన్స్ కి ఈ సినిమా ఫుల్ మాస్ మీల్స్ లాంటిది.

123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

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సంబంధిత సమాచారం

మొత్తానికి “డబుల్ ఇస్మార్ట్” నుంచి కన్ఫర్మ్ చేశారు, మరో ఓటిటి ప్లాట్ ఫామ్ లో కూడా గీతాంజలి మళ్ళీ వచ్చింది.., “గోట్” కోసం యూఎస్ కి దళపతి విజయ్., వైరల్ : “కల్కి 2898 ఎడి” గ్రాఫిక్స్ పై దర్శకుడు ఫన్., ఓటిటిలో అదరగొడుతున్న మరో మళయాళ సినిమా.

• సమీక్ష : కృష్ణ‌మ్మ‌ – కొన్ని చోట్ల ఆకట్టుకునే ఎమోషనల్ యాక్షన్ ఎంటర్ టైనర్!
• సమీక్ష : “ప్రతినిధి 2” – రొటీన్ పొలిటికల్ యాక్షన్ డ్రామా !

వారిపై ఇంట్రెస్టింగ్ కామెంట్స్ చేసిన మెగాస్టార్ చిరంజీవి!

ఇది పుష్పరాజ్ మ్యానియా – రష్మిక మందన్న, తాజా వార్తలు, ఫోటోలు : అమైరా దస్తూర్, ఫోటోలు : శివలీకా ఒబెరాయ్, ఫోటోలు : సురభి జ్యోతి, ఫోటోలు: జాన్వీ కపూర్, ఫోటోలు : ప్రియా ఆనంద్, వీక్షకులు మెచ్చిన వార్తలు.

• సమీక్ష : “ఆరంభం” – ఆకట్టుకోవడంలో విఫలమవుతుంది
• ఫోటో మూమెంట్ : పద్మ విభూషణ్ చిరంజీవితో తన బ్యూటిఫుల్ ఫ్యామిలీ
• లేటెస్ట్ : “కన్నప్ప” లోకి ప్రభాసుడి ఆగమనం
• లేటెస్ట్…పవర్ ఫుల్ గా విజయ్ నెక్స్ట్ మూవీ ప్రీ లుక్ పోస్టర్!
• “దేవర” సాంగ్ ని అక్కడ అనౌన్స్ చేసేసిన అనిరుద్
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Godfather Movie Review: Tailormade Remake

Movie: Godfather Rating: 2.75/5 Banner: Mega Supergood Films, Konidela Productions Cast:  Chiranjeevi, Salman Khan, Nayanthara, Puri Jagannadh, Satya Dev, Murali Sharma, Samuthirakani, Sunil and others Music: Thaman S Director of Photography: Nirva Shah Editor: Marthand K Venkatesh Action: Ram-Laxman, Anl Arsu Producer: RB Choudary and NV Prasad Directed by: Mohan Raja Release Date: October 5, 2022

Any Chiranjeevi starrer evokes curiosity. “Godfather” has created more interest as Bollywood superstar Salman Khan played a guest role. The film marks Salman Khan’s Telugu debut.

Let’s find out whether the film lives up to the expectations.

Story: When Chief Minister PKR passed away, his daughter Satya Priya (Nayanthara) and his son-in-law Jaidev (Satya Dev) decided to take the reins of the party and the government. Not aware of her husband's true nature, Satya Priya proposes Jaidev's name as the new president, which is rejected by MLAs and party men as they follow Brahma (Chiranjeevi), the stepson of the deceased CM.

Satya Priya hates Brahma and wants to keep him away from the party. Jaidev wants to buy all the MLAs with the money from a Mumbai don. The Mumbai mafia don, in return, seeks the permission to set up a drugs production company in the state when Jaidev becomes CM of the state.

How Brahma plays his game and saves his sister Satya Priya and the state from the schemes of Jaidev forms the rest of the story.

Artistes’ Performances: Megastar Chiranjeevi has played a role that suits his age and image. The appearance is also closer to his real life. Chiranjeevi is quite effective when he speaks less and does the acting with his body language. This is the first time that the megastar played a role without a female interest in the film. 

Bollywood superstar Salman Khan in his Tollywood debut gets a raw deal. His entry into the film and his subsequent scenes look superficial.

Satyadev steps in the role played by Vivek Oberoi. Satyadev has put in his best efforts, but his role lacks evilness as Vivek showed in the original. He doesn’t pose as a strong villain to the mighty Chiranjeevi.

Nayanthara is dignified in her role. Sunil is okay. Murali Sharma shines. Puri Jagannadh as a journalist is impressive.

Technical Excellence: Nirav Shah’s cinematography is striking. Many shots in the film show his master touch. The sequences filmed on Necklace Road’s tricolor flag area are beautiful. Thaman’s music is a letdown. Lakshmi Bhupal’s dialogues are pale and normal. 

Highlights: Chiranjeevi’s act and style The first half

Drawback: Weak villain The climax portions Changes to the original story

Analysis “Godfather” is the official remake of the Malayalam blockbuster “Lucifer” featuring Mohanlal. The Malayalam version is a commercial film and a blockbuster. The film was narrated in a gripping manner. It was one of the best political thrillers. 

The basic storyline of “Godfather” is the same as that of “Lucifer”, but director Mohan Raja has made many changes that have diluted the impact.

Until the interval bang, the film is as gripping as the original. While certain changes worked for the image of Chiranjeevi, the other crucial changes, especially the removal of the brother’s character, have changed the course of the drama. 

The protagonist is the son of the deceased chief minister and that is never explicitly told in the original movie. It is only implied with the ‘silence’ of the main character. This angle has given room for suspense in the story. In “Godfather”, at the very beginning, it is revealed that Chiranjeevi is the son of the deceased Chief Minister. So, the drama about the identity of “Lucifer” or “Brahma” goes missing. Then the arrival of the Chief Minister’s younger son is quite dramatic in "Lucifer". In the “Godfather”, the role is completely chopped off. 

What “Godfather” gets right is it doesn’t spoil the spirit of the original. The first half is narrated in a gripping manner. Plus, additional sequences like adding a heroine to Chiranjeevi or songs are not incorporated. This is a major relief. 

The political dialogues used by Chiranjeevi are in ok with the story, there is no forced additional political track. Puri Jagannadh’s journalist role and the sequences have also come out well. 

Even after the interval, the film goes as per the story for a few sequences. But thereafter, it turned into a complete ‘Telugu commercial film’. 

Satya Dev’s character lacks the evilness of Vivek Oberoi’s. In turn, Satya Dev looks like a meek person in front of Chiranjeevi, who is called the boss of the bosses. And We don’t get any high moments when Chiranjeevi and Salman Khan appear together. In the original, the same sequences filmed on Mohanlal and Prithviraj Sukumar provide goosebumps. 

Having said that, “Godfather” is a better action drama compared to recent masala movies. When it sticks to the original, it works big time, when it deviates, it goes down. If we stop comparing it with the original, it looks interesting. However, Chiranjeevi’s charisma and his swag, and certain portions bring joy to his fans. For others, it is a strictly okay watch. It is difficult for the audience who watched 'Lucifer' to relish this film. But those who didn't watch the original may like it. This is the tailormade remake for Chiranjeevi. 

Bottom line: For fans

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The Godfather review – a brutal sweep of magnificent storytelling

Francis Ford Coppola’s first film in the series is still an epic, full of hypnotic acting, which reinvented mafia criminals as players in a dynastic psychodrama

W hen director Francis Ford Coppola and screenwriter-novelist Mario Puzo released The Godfather 50 years ago, the mobster had already been a stock figure in film for half a century. Their genius (and that of the film’s own godfather, producer Robert Evans) was to reinvent these criminals as a dysfunctional dynastic psychodrama.

They took the figure of the ageing don as seriously as Lear, the careworn ruler of a secret American state-within-a-state. Stomach-turning flourishes of violence are juxtaposed with elaborate rituals of familial piety and respect, which generations of real-life criminals in the United States treated as how-to behaviour manuals for decades afterwards. These Italian-American gangsters do not complain about the bigotry heading their way, and are themselves casually racist and antisemitic. Extravagant gestures of romantic adoration and solemn respect for womenfolk are combined with casual sexual abuse; and women have to reconcile themselves to their role: a pretext for revenge. (A tour guide in Sicily once told me that the word “mafia” is taken from the Italian phrase “ non toccare ma figlia” – don’t touch my daughter – an explanation I have yet to see confirmed anywhere else.) There is a toxic chill to the film’s opening speech, from a local undertaker piteously demanding the Don take revenge on his behalf against two over-privileged white boys who have raped and disfigured his daughter. Many cannot forgive this film for sentimentalising mob violence with this fantasy rationale.

Marlon Brando is as hypnotic as a cobra playing ageing gangster patriarch Vito Corleone, his cottonwool jowl-padding giving something extra to that unmistakable adenoidal wheeze. He is hosting a colossal family wedding for his daughter Connie (Talia Shire): a magnificent set-piece scene that itself has more energy, detail and dramatic interest than most entire films. The don will, with stately calm and an upheld finger, like a cardinal or the Pope himself, listen to murmured information or advice in his ear. Vito’s wife Carmela (a name that reverberated in the later 90s era of The Sopranos) says little or nothing. Vito’s aggressive hothead son Sonny (James Caan) is at the party, a married man furtively having sex with a bridesmaid; present also is the weakling son Fredo (John Cazale), who is drunk in an undignified, undisciplined way. But the old don is pining for his favourite son, Michael (a stunningly charismatic performance from Al Pacino), a decorated second world war veteran with no interest in the family business. Michael shows up late, handsome in his uniform: indicating the transferable military skills. With him is his wasp fiancee Kay (Diane Keaton).

Vito’s trusted consigliere , Tom Hagen, is the unofficial son: a brilliant, atypically self-effacing performance from Robert Duvall . It is quiet Tom who is to supervise, off-camera, the film’s most diabolical act of violence: kidnapping the racehorse (Godfather superfans will know the horse’s name) belonging to a Hollywood producer who has to be intimidated into giving a role to the Don’s Sinatra-esque godson Johnny Fontane (Al Martino), drugging it, cutting off its head and placing it in the sleeping man’s bed. Eerily, this producer (played by Cassavetes veteran John Marley) had the night before given an impassioned speech denouncing Fontane’s ruination of an innocent actress, a weird echo of the undertaker’s speech to the don about his daughter.

But all this is the calm before the storm, as the crime families’ peace accord disintegrates, with the coming of drugs. Virgil “The Turk” Sollozzo (Al Lettieri) offers Vito a piece of his growing new heroin business; the don refuses, apparently because he disapproves of this evil trade, or perhaps because he thinks his cut isn’t big enough. Affronted by the refusal and suspecting the Corleones simply intend to launch an attack for all of his business, Sollozzo’s men launch a pre-emptive strike, shooting Vito as he buys oranges from a market, and of course pathetic, incompetent Fredo is unable to protect his father. (Again: Godfather superfans can tell you which Jake LaMotta fight is being advertised on the poster in the background of this shot.) And as Vito lies in hospital, having miraculously survived, it is Michael who realises at this moment that his destiny is to abandon his claim to the respectable American dream and take over the family business. It is to culminate in the now legendary sequence in which Michael becomes a godfather to his sister’s child and the baptismal service is intercut with nightmarish vignettes showing the slaying of all the rival bosses. The point of course being: this is Michael’s own baptism.

Coppola’s epic storytelling sweep is magnificent: there is an electric charge in simply the shift from New York to California to Sicily and back to New York. This is the top-down approach to gangsters, the “great man” theory of organised crime. Later movies such as Scorsese’s Goodfellas will emphasise the more ragged lower ranks (although Paul Sorvino’s Paulie Cicero insists on the Corleone-esque murmuring in the ear) and David Chase’s The Sopranos showed the Italian-American mob in decline. My own view is that one of the greatest post-Godfather movies is Abel Ferrara’s The Funeral, which lays out the hellish sense of self-replicating sin and shame in the criminal world.

Coppola was to follow his epic masterpiece with the equally ambitious and audacious The Godfather Part II , a sequel/prequel that is often thought of as even better. Brilliant though that second film is, I think the original will always have the edge in its simplicity, clarity and brutal power.

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What’s it about?

When Chief Minister PKR dies, a question arises regarding the successor. PKR’s son-in-law Jaidev (Satya Dev) swiftly swings into action. His wife Satya Priya believes that her husband is doing everything for her and her family. She loathes her stepbrother Brahma (Chiranjeevi) and is determined that the party doesn’t go into his hands. 

Brahma, on the other hand, has the support of many MLAs, who act on his word. Understanding that Jaidev is trying to grab the party in his hands, Brahma plans that his sister Satya Priya becomes the new party president. Then, Jaidev’s game to become the new Chief Minister becomes tough. 

How Brahma exposes Jaidev’s true nature and averts his efforts and saves his sister from him becomes the main plot of this political drama.

An official remake of Malayalam blockbuster ‘Lucifer’, Chiranjeevi starrer ‘Godfather’ follows the spirit of the original but also differs from it. As director Mohan Raja said in his interviews, he has made many changes to the script, by omitting certain characters and adding new ones. The character of the Chief Minister’s younger son was removed entirely. Manju Warrier’s daughter role turns into Nayanthara’s sister here. 

The original film is not just about succession but drug cartels. The aspect of the drugs has remained in the ‘Godfather’. But the political drama and the successor game are altered. Political drama is over masalafied in ‘Godfather’.

‘Godfather’ is largely gripping in the first half. The biggest trick Mohan Raja has scored with this film is that he doesn’t let us think about Chiranjeevi’s usual introduction song or romantic thread. Thankfully, the film sticks to the original in this aspect. For the first time in his long career, Chiranjeevi has done a movie without the usual dance numbers or romantic angles. 

Mohan Raja succeeds in presenting a new megastar that befits his age. 

If we start comparing the film in all aspects with the original, the review will be too long to read. In short, ‘Godfather’ follows the outline of ‘Lucifer’ but gets some portions rights, some things wrong. We don’t get many complaints with the first half, but the final act completely goes wrong. 

The very decision of casting Salman Khan is bad. Even the scenes involving Chiranjeevi and Salman Khan lack the native factor and don’t provide any thrilling moments. The final moments give a feel of the rushed product. 

Coming to performances, Chiranjeevi’s swag and style is the main highlight. He reinvents himself with this film. 

Among the other characters, Nayanthara (dignified), Satya Dev (decent), and Murali Sharma (good) shine. Sunil, Brahmaji, Samuthirakani, Divi Vadthya, and Shafi are okay. 

Among the technicians, cinematographer Nirav Shah and dialogue writer Lakshmi Bhupala deserve appreciation. Thaman’s music is standard. Director Mohan Raja does a neat job in remaking the original. 

Bottom-line:  For all these years, Chiranjeevi has done films or roles that provided scope for his dance numbers or mass sequences. For a change, he reinvents himself with ‘Godfather’, which is bereft of such moments. This is a novelty. Though the film is not as good as the original ‘Lucifer’, it makes a decent watch on its own. 

Rating: 3/5

By Jalapathy Gudelli

Film: Godfather Cast: Chiranjeevi, Salman Khan, Nayanthara, Satya Dev, and others Dialogues: Lakshmi Bhupala Music: Thaman S Cinematography: Nirav Shah Action: Ram-Laxman, Anal Arsu Production Designer: Suresh Selvarajan Directed by: Mohan Raja Release Date: Oct 05, 2022

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We know from Gay Talese’s book Honor Thy Father that being a professional mobster isn’t all sunshine and roses. More often, it’s the boredom of stuffy rooms and a bad diet of carry-out food, punctuated by brief, terrible bursts of violence. This is exactly the feel of “The Godfather,” which brushes aside the flashy glamour of the traditional gangster picture and gives us what’s left: fierce tribal loyalties, deadly little neighborhood quarrels in Brooklyn, and a form of vengeance to match every affront.

The remarkable thing about Mario Puzo ’s novel was the way it seemed to be told from the inside out; he didn’t give us a world of international intrigue, but a private club as constricted as the seventh grade. Everybody knew everybody else and had a pretty shrewd hunch what they were up to.

The movie (based on a script labored over for some time by Puzo and then finally given form, I suspect, by director Francis Ford Coppola ) gets the same feel. We tend to identify with Don Corleone’s family not because we dig gang wars, but because we have been with them from the beginning, watching them wait for battle while sitting at the kitchen table and eating chow mein out of paper cartons.

“The Godfather” himself is not even the central character in the drama. That position goes to the youngest, brightest son, Michael, who understands the nature of his father’s position while revising his old-fashioned ways. The Godfather’s role in the family enterprise is described by his name; he stands outside the next generation which will carry on and, hopefully, angle the family into legitimate enterprises.

Those who have read the novel may be surprised to find Michael at the center of the movie, instead of Don Corleone. In fact, this is simply an economical way for Coppola to get at the heart of the Puzo story, which dealt with the transfer of power within the family. Marlon Brando , who plays the Godfather as a shrewd, unbreakable old man, actually has the character lead in the movie; Al Pacino , with a brilliantly developed performance as Michael, is the lead.

But Brando’s performance is a skillful throwaway, even though it earned him an Academy Award for best actor. His voice is wheezy and whispery, and his physical movements deliberately lack precision; the effect is of a man so accustomed to power that he no longer needs to remind others. Brando does look the part of old Don Corleone, mostly because of acting and partly because of the makeup, although he seems to have stuffed a little too much cotton into his jowls, making his lower face immobile.

The rest of the actors supply one example after another of inspired casting. Although “The Godfather” is a long, minutely detailed movie of some three hours, there naturally isn’t time to go into the backgrounds and identities of such characters as Clemenza, the family lieutenant; Jack Woltz, the movie czar; Luca Brasi, the loyal professional killer; McCluskey, the crooked cop; and the rest. Coppola and producer Al Ruddy skirt this problem with understated typecasting. As the Irish cop, for example, they simply slide in Sterling Hayden and let the character go about his business. Richard Castellano is an unshakable Clemenza. John Marley makes a perfectly hateful Hollywood mogul (and, yes, he still wakes up to find he’ll have to cancel his day at the races).

The success of “The Godfather” as a novel was largely due to a series of unforgettable scenes. Puzo is a good storyteller, but no great shakes as a writer. The movie gives almost everything in the novel except the gynecological repair job. It doesn’t miss a single killing; it opens with the wedding of Don Corleone’s daughter (and attendant upstairs activity); and there are the right number of auto bombs, double crosses, and garrotings.

Coppola has found a style and a visual look for all this material so “The Godfather” becomes something of a rarity: a really good movie squeezed from a bestseller. The decision to shoot everything in period decor (the middle and late 1940s) was crucial; if they’d tried to save money as they originally planned, by bringing everything up-to-date, the movie simply wouldn’t have worked. But it’s uncannily successful as a period piece, filled with sleek, bulging limousines and postwar fedoras. Coppola and his cinematographer, Gordon Willis , also do some interesting things with the color photography. The earlier scenes have a reddish-brown tint, slightly overexposed and feeling like nothing so much as a 1946 newspaper rotogravure supplement.

Although the movie is three hours long, it absorbs us so effectively it never has to hurry. There is something in the measured passage of time as Don Corleone hands over his reins of power that would have made a shorter, faster moving film unseemly. Even at this length, there are characters in relationships you can’t quite understand unless you’ve read the novel. Or perhaps you can, just by the way the characters look at each other.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Godfather (1972)

175 minutes

Marlon Brando as Don Vito Corleone

Richard Costellano as Clemenza

Robert Duvall as Tom Hagen

Alex Rocco as Moe Green

James Caan as Sonny Corleone

Al Pacino as Michael Corleone

Sterling Hayden as McClusky

John Cazale as Fredo Corleone

John Marley as Jack Woltz

Diane Keaton as Kay Adams

Richard Conte as Barzini

Talia Shire as Connie Rizzi

Gianni Russo as Carlo Rizzi

Lenny Montana as Luca Brasi

Marlon Brando as Vito Corleone

Al Martino as Johnny Fontane

Tony Giorgio as Bruno Tattaglia

Al Lettieri as Sollozzo

Morgana King as Mamma Corleone

John Martino as Paulie Gatto

Sterling Hayden as McCluskey

Talia Shire as Connie

Abe Vigoda as Tessio

Alex Rocco as Moe Greene

Richard S. Castellano as Clemenza

Rudy Bond as Cuneo

Cinematography by

• Gordon Willis

Produced by

• Albert S. Ruddy

Screenplay by

• Francis Ford Coppolla

Based on the novel by

Directed by.

• Francis Ford Coppola
• Peter Zinner
• William Reynolds

Photographed by

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Megastar Chiranjeevi’s GodFather is hitting theatres worldwide today and the stakes are high on the film. Let’s see what the Mohan Raja directorial has to offer.

PKR is Honest CM of the state. Satya Priya (Nayanatara) and Jayadev (Satya Dev) are daughter and son in law of PKR. Jayadev who runs Narcotic business wants to become CM of the state after his father in law’s death. Bhrama (Chiru) who is son of PKR (from his mistress) who is powerful in the party/people doesn’t like Jayadev’s candidature. How Bhrama stops Jayadev from becoming the CM of the state is rest of the story.

What about on-screen performances?

Chiranjeevi looks sublime in the role of a king-maker. The salt and pepper look suits him very well. He has that aura to play an intense role and still impress audience without his usual strong elements of entertainment (Songs, dances and comedy) in this movie. Chiru shoulders the film with his towering performance. He is ably supported by the stellar cast.

Satya Dev is a surprise package in the movie. He got a meaty role and nailed it as an antagonist. Murali Sharma is one other artist who performed really well as a partner in crime to Satya dev. Nayanatara as wife of Satya dev got a lengthy role and she did pretty well. Other supporting artists like Puri, Sunil, Samuthirakani, Divi, Murali Mohan and others did justice to their roles.

Salman as Masoom bhai makes a brief appearance but he packs a punch. It is a treat to watch him and Chiru in a single frame.

What about off-screen talents?

The film is directed by Mohan Raja who is very successful at helming remake projects. He has fine-tuned the Lucifer script a fair bit and there are multiple new additions to the narrative. His revisions worked out really well. Chiru’s character here has more prominence than that of Mohan Lal’s in the original.

Thaman’s background score is terrific. He highlighted several action packed scenes with his powerful background score. Nirav Shah’s visual composition is brilliant. The frames look rich and diverse, thanks to some brilliant work from him behind the lens

Positive Points:

• Chiranjeevi performance
• Supporting cast performance
• Salman and Chiru scenes

Negative Points:

• Some VFX scenes
• Slight lag in 1st half

Below are some good scenes from the movie which stood out.

• Chiru mass Intro scene (special mention BGM)
• Jaydev’s santhakala sekarana scene (Resembles Jagan’s act)
• Bhrama and Jayadev’s Jail scene
• Sunil realization scene
• Jayadev and Satya Priya confrontation episode (BGM and Dialogues)
• Satya Priya and Bhrama emotional scene
• Salman and Chiru climax fight with Blast baby song
• Thar Mar song for fans

Godfather starts powerful and gets massive by the end. Although the movie runs on a serious note, director has made sure to incorporate interesting scenes at regular intervals and some mass elements for megastar fans which appeals to normal cinegoer as well. Go watch it and you won’t be disappointed.

Telugubulletin.com Rating: 3.25/5

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Watch This space For First on Net Exclusive Live Updates and Review from US Premiers

1:50 AM IST : Satya Priya (Nayanatara) and JayaDev (SatyaDev) are CM probables. As PKR dies, discussion is on who is next CM. Brahma (Chiranjeevi) is son of PKR. Looks like the entire plot of Lucifer is changed for GodFather. Thaman’s BGM is top notch staring from first scene. Chiranjeevi gets best introduction in recent times. 

2:20 AM IST :  JayaDev (SatyaDev) runs narcotics business. He wants to become CM, he gathers all MLA signatures. The scene resembles a real incident that happened immediately after YSR death. The scene where JayaDev gets an unexpected shock is good.

2:45 AM: Bhrama plays mind game in party meeting and makes Jayadev propose Satya Priya as CM candidate. Bhrama gets arrested. The pre interval block where Bhrama showcases his power ti Jayadev is good. Masoom(Salman khan) is introduced

First Half Report: First half of the movie is good with intense political drama. Chiranjeevi’s action is top notch, Thaman’s BGM elevated scenes to next level. All actors performed well, if the second half is good then hit is on the cards.

4:30 AM : Satya Priya approaches Brahma with all her problems. Brahma take cares of the situation.

Final Report : Overall report: Mohan raja stuck to the spirit of the original and delivered a super hit engaging political drama.BOSS is Back with a Bang. Chiru, Salman sets screen on fire. Thaman BGM elevated scenes to next level.

Megastar chiranjeevi’s Godfather is a political action-thriller film directed by Mohan Raja and produced by Ram Charan, R. B. Choudary and N. V. Prasad under Konidela Production Company and Super Good Films.

The film is a remake of 2019 Malayalam film Lucifer and stars Chiranjeevi in the title role alongside Salman Khan, Nayanthara, Puri Jagannadh and Satyadev Kancharana. The music is composed by Thaman S with cinematography handled by Nirav Shah.

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GODFATHER MOVIE REVIEW CLICK TO RATE THE MOVIE

Godfather is an official Telugu remake of Mohanlal's Malayalam film Lucifer. It is directed by Mohan Raja and produced by NV Konidela and RB Choudary under the banners Konidela Production Company and Super Good Films respectively. The film has Mega Star Chiranjeevi and Nayanthara in the lead roles while Satya Dev, Murali Sharma, Tanya Ravichandran and others play crucial supporting roles. Salman Khan has also played a cameo appearance as Masoom Bhai. 

The Chief Minister of Andhra, PKR dies mysteriously, and the race for the throne is wide open. PKR's daughter Sathyapriya (Nayanthara), her husband Jaidev (Satya Dev), and Mr. Verma (Murali Sharma) are the names in the hat and Brahma's name gets added at the end. Brahma(Chiranjeevi) is considered as a force to reckon with and the strength behind PKR when he was the CM.

The power play between all these contenders, what role Brahma has in weeding out all corrupt ministers, and how he avenges PKR's death is what Godfather is all about. Directed by Mohan Raja, who is known for handling remakes really really well, he almost gets the essence of the original right, and adds a few elements to fit the sensibilities of the Telugu audiences.

Godfather is all about Chiranjeevi and it is the right kind of script which fits the stardom he carries, and Mohan Raja goes full throttle. One of the scenes which stands out is the conversation between Satya Dev and Chiranjeevi inside a prison where Chiranjeevi doesn't utter a word but the scene reeks of mass appeal. It is also a scene which shows us what a brilliant actor Chiranjeevi is. Cinematographer Nirav Shah rightly chooses to zoom in on Chiranjeevi's eyes and give us goosebumps. 

Among the other actors, Satya Dev looks less powerful as the antagonist as a person with a huge screen presence like Chiranjeevi needed a much stronger villain. Barring him, Nayanthara, Murali Sharma, Tanya Ravichandran and Brahmaji end up as memorable characters in our minds and ace their roles. Salman Khan's cameo role increases the "massness" of the film, and he breeds swagger in every frame. 

Technically, Nirav Shah's camerawork is stellar and he captures the film in a grand way. But the VFX especially in climax fights could have been better. The stunt choreography is a mixed bag. The jail fight sequences are executed well.

Among all these, one person whose work stands out is Music director Thaman. His purple patch of scoring mass BGMs for top heroes continues and he's given his heart and soul to this film. The screenplay by Mohan Raja is neat and simplified and is understandable for everyone. He also makes a few tweaks to the original by combining 2 characters and making it a single character. Those are the places where the Godfather differentiates from Lucifer. 

Overall, Godfather is a mass film with a great screenplay and music. Chiranjeevi solely powers the film right from the frame he makes an entry. There are a few rough edges here and there but all those are forgotten as Chiranjeevi, Salman Khan and Prabhu Deva shake a leg together while the film comes to a close.

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

GODFATHER NEWS STORIES

Godfather : தமிழ்நாட்டில் ரிலீஸ் ஆகும் சிரஞ்சீவியின் காட்பாதர் (தெலுங்கு).. எப்போ..?

ரசிகர்களுக்கு நன்றி தெரிவித்து அறிக்கை வெளியிட்ட நயன்தாரா.. இது தான் காரணமா? முழு தகவல்

Godfather : மெகா ஸ்டார் சிரஞ்சீவியின் ‘காட்ஃபாதர்’ தமிழ்நாட்டில் நாளை ரிலீஸ் ஆகுதா?

மோகன்லால் & சிரஞ்சீவி.. ரசிகர்களை கவரும் 'GOD FATHER' படத்தின் அதிரடியான டிரெய்லர்!

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GODFATHER RELATED CAST PHOTOS

Chiranjeevi

Salman Khan

Godfather movie review | godfather public review | chiranjeevi, salman khan, nayanthara videos, ഒറിജിനലിനെ വെല്ലുന്ന രീതിയിൽ godfather സിനിമ റ ചെയ്തപ്പോൾ videos, other movie reviews.

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GodFather Review : Remake aimed at Fans

GodFather 2022 Movie Review

Telugu360 rating : 3/5

After the debacle of Acharya, Megastar Chiranjeevi is testing his luck with a remake titled God Father. Mohan Raja directed a political drama that also has enough dose of action. The team says that they have made enough changes to suit the Telugu audience. Bollywood Superstar Salman Khan will be seen in a prominent role and Nayanthara, Satyadev and Samuthirakani will be seen playing other important roles. Thaman scored the music and Konidela Production Company; Super Good Films are the producers.Here is the complete review of God Father:

God Father is about BRAHMA (Chiranjeevi) the force behind the ruling party. As incumbent chief minister PKR dies, fight erupts within the party for the next Chief Minister post. Strong contenders for the next CM position are PKR’s daughter Satya Sri ( Nayanatara) , Jaya Dev ( Satya Dev) and Home minister Verma ( Murali Sharma). Brahma’s objective is to protect the JJParty and CKR’s daughter. Rest of the film is how Brahma and his rivals plan to take control of the state.

God Father Movie takes off with intense political drama and family feud around the chief minister’s family. Chiranjeevi role is characterized as a creator, and named after the same creator god.Brahma. Chiranjeevi is the invisible force behind the chief minister PKR family. After PKR death, PKR’s son-in-law Jaya dev tries to become the chief minister. Brahma intercepts and continuously foil Mr Jaya dev attempts. The bonding between PKR and Brahma has been established emotionally, but the growth of the Brahma as a force (Don) wasn’t established convincingly. The Dubai mafia support to Brahma, Masoombhai( Salman Khan) thread and international mafia dons’ meeting etc. scenes are not dealt well.

PKR’s daughter Satya Sri (Nayanatara ) is unaware of her husband Jaya Dev’s dark side. Under Jaya Dev’s trap, Satya Sri tries to make him as the Chief Minister. But, Brahma outwits Jaya Dev and how is able to make Satya Sri as the chief minister is rest of the story. Chiranjeevi’sBrahma characterization is a mixed bag. While it suits his age, the mass audience might not like the idea of protagonist being passively showing the heroism. As per the characterization Brahma is majority of the times shown taking back seat in the action than active. At some point, while Salman Khan Fights against the villains chiranjeevi is shown walking behind salman under his protection. Script wise this approach is absolutely fine but might be a negative with core masses. Last 30 minutes of the film is a clichéd one.

Overall, director Jayam Mohan Raja did a good job in balancing the remake and customizing to telugu audience. Konidela Pro production values are adequate, but the VFX work is poor. SS Thaman provides loud and mass appealing background score for Godfather. Nirav Shah Cinematography is good. Marthand K Venkatesh’s editing is adequate.

Performances :

Megastar Chiranjeevi getup suits his age, performance is subtle and Good. Satya Dev and Nayana Tara added solid performances and both are fantastic. Salman adds to the star power and it is nice to see both Megastars together on the screen. However, there is not much depth in his character. Murali Sharma, Sayaji Shinde got good roles. Puri Jagannath got a significant role as journalist.

• Mega Star’s performance
• Engaging political Story line
• Two mass appealing fights
• Salman Khan’s scenes
• Backstory Chiranjeevi’s Brahma character
• Lack of typical chiranjeevi elements like Dance, comedy for his fans

Godfather stays true to the original with adequate tweaks to appeal to Telugu audience. Brahma’s role is tailor made for the Megastar Chiranjeevi, which he plays in efficient manner. Overall, if you like political themed films, Godfather keeps you engaged .

Release date: 5 October 2022 Director: Mohan Raja Language: Telugu Cinematography: Nirav Shah Producers: Ram Charan, R B Choudary, Prasad N.V. Production companies: Konidela Production Company, Super Good Films Cast : Chiranjeevi, Salman Khan, Nayanthara, Satya Dev

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GodFather movie review: Chiranjeevi packs a punch but Satyadev Kancharana steals the show in this captivating political thriller

Updated Oct 6, 2022, 12:43 PM IST

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GodFather review : Story

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Godfather Telugu Movie Review

Average Ratings: 3.1/5 Score: 100% Positive Reviews Counted:6 Positive:6 Neutral:0 Negative:0

Ratings: 3.5/5 Review By: Paul Site:Times Of India

God Father proves to be a worthy remake of the Malayalam film Lucifer, and Chiranjeevi embodies the character of Brahma brilliantly and comes up with a charismatic performance. Engaging screenplay, exhilarating background score by Thaman S and neat camera work make this political drama a festive watch. Its safe to say the boss is back!

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Ratings: 2.75/5 Review By: Venkat Site:GreatAndhra

Godfather€ is a better action drama compared to recent masala movies. When it sticks to the original, it works big time, when it deviates, it goes down. If we stop comparing it with the original, it looks interesting. However, Chiranjeevis charisma and his swag, and certain portions bring joy to his fans. For others, it is a strictly okay watch. It is difficult for the audience who watched ‘Lucifer’ to relish this film. But those who didn’t watch the original may like it. This is the tailormade remake for Chiranjeevi.

Ratings: 3.25/5 Review By: 123Telugu Site:123Telugu

On the whole, Godfather is an impressive political thriller narrated in a sensible manner. A new age and mature Chiranjeevi, solid performance by Satyadev and Nayanthara and fun cameo by Salman Khan are basic assets of the film. When compared to the original Lucifer, drama is missing a bit but that does not stop the fans and masses having a fun ride this Dussehra as the boss is back.

Ratings: 3.25/5 Review By: TBCinema Site:Telugubulletin

Godfather starts powerful and gets massive by the end. Although the movie runs on a serious note, director has made sure to incorporate interesting scenes at regular intervals and some mass elements for megastar fans which appeals to normal cinegoer as well. Go watch it and you wont be disappointed.

Ratings: 2.75/5 Review By: Mirchi9 Site:Mirchi9

Overall, Godfather is a drama-driven mass fare with Chiranjeevi and good primary casting involving Satya Dev and Nayanthara. They hold things together until the end, when the narrative collapses into mundaneness. It is a decent one-time watch and offers something to cheer for Mega fans after the stars last debacle.

Ratings: Positive Sentiment  Review By: Kiran Site:TeluguFilmnagar

GodFather ticks all the right boxes in the process of being a remake, staying true to the original and still being unique in its own way with its engaging screenplay throughout the runtime. Chiranjeevi is the showman of this political drama. Mohan Raja, Thaman S, Satya Dev, and Salman Khan all enhanced GodFather much better than the original, making it the best among political backdrop movies.

Godfather Cast

Chiranjeevi Salman Khan Nayanthara Puri Jagannadh Satyadev Kancharana

Godfather Release Date

October 5, 2022 straight to Theaters

Godfather Plot

After the death of Andhra Pradesh’s C.M P.K.R, Brahma, a mysterious and dangerous man, who is also nicknamed as Godfather, learns that P.K.R’s son-in-law, Jaidev, is planning to smuggle narcotics in Hyderabad. Brahma opposes this and becomes an obstacle to Jaidev, who plans to eliminate him. How does Brahma foils Jaidev’s plan and expose him forms the crux of the plot.

Godfather Director

Godfather producer.

Ram Charan R. B. Choudary N. V. Prasad

Godfather Runtime

2 Hours 32 minutes ( 152 minutes)

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Critic’s notebook

‘The Sympathizer’ Opens a Counteroffensive on Vietnam War Movies

HBO’s series is not just a good story. It’s a sharp piece of film criticism.

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By James Poniewozik

HBO has long defined itself in contrast to mainstream television — “It’s not TV,” as the slogan goes — but in many ways its history is one of revising and responding to the movies. “The Sopranos” updated the mafia movie (and its characters quoted, and were influenced by, films like “The Godfather”). “Game of Thrones” dirtied up the high-fantasy genre; “Deadwood” the Western; “Watchmen” the superhero story.

But the network has never given us its longform version of, or rebuttal to, one Hollywood staple: the Vietnam War movie (unless one counts the alternative history aspects of “Watchmen”). Until now, with “The Sympathizer,” Park Chan-wook’s kinetic and darkly hilarious adaptation (with the co-showrunner Don McKellar) of the novel by the Vietnamese American author Viet Thanh Nguyen.

The seven-episode series is many things. It’s an exploration of dual identity: The protagonist, known only as the Captain ( Hoa Xuande ), is a half-French, half-Vietnamese communist double agent planted as an aide to the General (Toan Le), a leader of the South Vietnamese secret police. It’s a spy thriller, a satire of colonialism and its many faces — many of them Robert Downey Jr.’s — and an exploration of the complications of love and memory.

But it’s also an intense dialogue and argument with the movies. It is simultaneously its own Vietnam War movie, bold, inventive and sometimes bloody, as well as a pointed, detailed work of movie criticism.

In “The Sympathizer,” which began airing in April, the movies are a continuation of war by other means. Its fixation on film begins early. Retelling his story in a postwar re-education camp — the framing device for the series — the Captain recalls watching the vicious interrogation of a communist agent on the stage of a movie theater, where the marquee sign for “Emmanuelle” is coming down, and the one for Charles Bronson’s “Death Wish” is hoisted into place. Even in Hollywood’s dream vision, beauty gives way to an American pointing an oversized gun.

“Hollywood” is a metonym for America in “The Sympathizer”; it is the country’s front door, its export and its weapon. The Captain’s C.I.A. contact, Claude (Downey), lectures his “protégé” (who he is unaware is a communist) about American pop culture, expounding to him about the Isley Brothers and the Herbie Hancock score for “Death Wish.” Later, Claude tells him about the C.I.A.’s interest in keeping tabs on film directors: “As long as we can keep them within the nebulous bounds of humanism but with no actionable political ideology, they’re completely harmless.”

For Nguyen, who came to the United States with his family in 1975, the movies were potent and personal. “I grew up when America was fighting its war in Vietnam all over again, this time onscreen,” he recalled in a 2022 commencement speech. “Vietnam was our country and this was our war, and yet our only place in American movies was to be killed, raped, threatened or rescued.”

The adaptation of his novel dramatizes this in its centerpiece fourth episode, which premiered Sunday. The Captain, sent to America after the war to keep an eye on the General in exile, is hired as a consultant for “The Hamlet,” an “Apocalypse Now”–like film by a blowhard American auteur, Nikos, again played by Downey. (Downey also plays an academic peddling theories about the “Oriental” mind-set and a right-wing politician who displays a photo of himself with John Wayne, whose “The Green Berets” tried to rouse support for the war.)

The filming takes the Captain into 1970s Hollywood’s heart of dimness. Nikos proclaims that he’s making “The Hamlet” to give voice to the Vietnamese people’s pain, but he neglects to give his Vietnamese characters any dialogue. When he agrees to add lines for them, he runs into the small problem that none of the extras hired to play the villagers are Vietnamese or speak the language.

(The multiple casting of Downey, by the way, is arguably a visual riff on this history of the movies treating Asians in general, and Vietnamese in particular, as interchangeable: Every aspect of imperialism, it conveys, is the same face in different makeup. But in a series that’s meant to foreground the Vietnamese in their own story, the device is showy and distracting because … well, it’s a whole lot of Robert Downey Jrs.)

The Captain volunteers to solve the problem, rounding up a group of Vietnamese expats to fill the extra roles, including his friend Bon (Fred Nguyen Khan), who proves to have a talent for getting killed, repeatedly, in a variety of costumes and makeup.

But the Captain’s solution introduces its own complications. His refugee extras, who fled the communists, don’t want to play Viet Cong onscreen. “Why do we make art,” the Captain pleads with them, “if not to explore the full complexity of life?” His speech doesn’t persuade anyone, but an offer of an extra $10 in pay does.

Park, the director of the relentless and sanguinary “Oldboy,” is an apt fit for this story, able to both render the thrill of actual action and satirize the absurdity of action moviemaking. (Park and McKellar wrote the fourth episode, which is directed by Fernando Meirelles.) On set, the Captain meets a Korean American actor (played by John Cho), whose résumé includes characters of multiple Asian ethnicities who have been beaten to death by Robert Mitchum, stabbed by Ernest Borgnine and shot by Frank Sinatra. An overbearing method actor (David Duchovny) plays his role as a war criminal with disturbing fidelity.

The episode builds to the movie-within-a-show’s climax, the rape of a village woman whom Nikos has named for the Captain’s mother. Though Nikos considers it a “tribute,” the Captain is appalled. (“You should be thanking me!” Nikos complains.) It’s too much for the Captain, whom Xuande plays as a man expert at mastering his emotions and his affect. He is fired and breaks up the scene’s shooting, and while leaving the set, he’s injured in a pyrotechnic blast meant to simulate an airstrike against the Vietnamese hamlet.

The Captain survives the devastation of his country only to be blown up by the simulacrum of the war he escaped. But Nikos gets the explosions he needs, and “The Hamlet” is released into the world.

“This movie is trash,” a Vietnamese character later says philosophically, “but that’s only from our perspective. He’s an American, and from an American perspective, it’s pretty progressive.”

This theme — perspectives and the lenses that express and determine them — is what makes “The Sympathizer” both an ingenious critique of war movies and an inventive war story of its own. The series opens with a statement displayed onscreen: “All wars are fought twice / The first time on the battlefield / the second time in memory.” Sly and passionate, “The Sympathizer” joins this battle on a third front: in the pictures.

James Poniewozik is the chief TV critic for The Times. He writes reviews and essays with an emphasis on television as it reflects a changing culture and politics. More about James Poniewozik

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Virupaksha Review – A Mystic Ride

BOTTOM LINE A Mystic Ride

OUR RATING 2.75/5

Set in the village of Rudravanam, a chain of mysterious deaths happens one after the other, which are linked to black magic. But is it really the reason, or is there more to what meets the eye?

Virupaksha is a thriller that decodes the truth behind the deaths. How Surya (Sai Dharam Tej) solves is the movie’s basic premise, whereas his track with Nandini forms the subplot.

Performances

Sai Dharam Tej is back on the big screen after a long gap. Virupaksha is his first outing post-recovery. The actor, therefore, is definitely not at his peak physicality wise as he looks heavy most of the time. He is particularly awkward on screen in running shots which could have been minimised.

Coming to acting, there is nothing challenging in Virupaksha. It requires a confident presence to navigate the proceedings, and Sai Dharam Tej provides it, and that’s it. He is one of the many characters in the movie. Credits to him for sticking to the story and not forcing typical heroism on his part. It helps the cause a great deal.

Samyukta Menon starts on an ordinary note, especially in the first half. She has less screen time, and even the scenes involving a love track have no impact. However, things change, and she surprises where it matters (climax). Again, it is not extraordinary or memorable, but it works well.

Karthik Dandu makes his directorial debut with Virupaksha. It is a mystic horror thriller set in a village in the past. The setup and genre bring freshness as they aren’t usual.

Virupaksha hooks from the opening itself. The sequence involving the black magic at the start sets the tone perfectly for the rest of the proceedings and also for the audience concerning the expectations.

Another significant aspect is the Rudravanam village and the world created by the director. They are the elements that engage the audience and hold their interest. It helps overcome the tepid love track, even though brief one in the first half.

The real deal lies in the main track involving the murders and finding the reason behind them. They are done well and have enough meat to hold the attention. The interval bang, too, is neatly done, as it makes one look forward to the second half with intrigue.

The second half carries the momentum from the first half. Things move briskly, but the problem becomes apparent immediately. While doing well in sticking to the content, the director does the same with the formula related to the genre.

The narrative progresses predictably and on expected lines. It lacks spine-chilling moments or genuine thrill moments. Take the entire stretch of finding Bhaivara and other links related to the deaths, for example. They are at a decent level but don’t go to the next level. Whatever feeling we get or the high that is partially felt is mainly due to the excellent technical work on display.

Similarly, the character’s behaviour change from the first to the second half also has a formulaic thought. Things like these don’t let Virupaksha go to the next level and leave one spellbound, more so considering the thundering work technically.

The climax after all the build-up is satisfactory. Again, with slight trimming, it could have been better. As it is, there is nothing big to complain about except what it could have been.

Overall, Virupaksha is a genre flick that sticks to the genre out and out. It is commendable as it features a known hero. However, it relies heavily on the technical work to pull through more than twists and thrills, which is decent. If you like thrillers with a mix of mysticism and horror elements, Virupaksha is a neat one-time watch for the weekend.

Virupaksha has an impressive supporting cast. We have many known faces like Sai Chand, Rajeev Kanakala, Ajay, Sunil, Brahmaji, Kamal Kamaraju, Anchor Shyamala etc., donning different get-ups and looking far from what they appear routinely. And that’s the good thing about them. When it comes to acting or memorable sequences, there aren’t many. Everyone has a bits and pieces role, and they all chip in to make things work, but none, in particular, stand out. Still, they are essential to the narrative and complete the movie with their presence.

Music and Other Departments?

Technically Virupaksha is slick and deserves a huge round of applause. The sound design and the background score are excellent. B Ajneesh Loknath does a fabulous job. His work elevates even ordinary moments—the sound design (Raja Krishnan) further aids big time in creating the spookiness alive throughout. The VFX work is not heavy but is done well, helping the proceedings.

Shamdat Sainudeen’s cinematography is good. Most of the movie happens in a village set up, which is captured neatly. More importantly, the world of Rudravanam is brought alive through these technical works; that is where Virupaksha grabs the attention. The writing is alright, with parts of it working.

Highlights? Story

Sound Mixing & BGM

Technical Work

Drawbacks? Missing Spine Chilling Moments

Lack Of Genuine Thrills (Second half)

No Impactful Performances (Except Climax)

Did I Enjoy It?

Yes for the most part

Will You Recommend It?

Virupaksha Movie Review by M9News

Final Report:

Virupaksha’s second half maintains momentum thanks to the terrific technical work. They breathe life into the proceedings. In the end, Virupaksha offers enough for genre lovers to make it a one-time watch.

First Half Report:

Virupaksha’s first half is engaging keeping few minor issues aside. The focus on the story works as sound design and BGM outshines everything and everyone else.A convincing second half is now needed after all the build-up. Let’s see.

— Virupaksha starts with a black magic episode in a village, hinting at the main plot right from the start.

Staty tuned for Virupaksha movie review and report from U.S. premiere.

Virupaksha Cast: Sai Dharam Tej, Samyuktha Menon Producer: BVSN Prasad Banners: Sri Venkateswara Cine Chitra & Sukumar Writings

Screenplay: Sukumar Director: Karthik Dandu

Cinematographer: Shamdat Sainudeen Music Director: B. Ajaneesh Loknath Editor: Navin Nooli Production Designer: Sri Nagendra Tangala Creative Producer: Satish BKR Executive Producer: Ashok Bandreddi VFX: DTM Lavan Kusan Sound Design: Sync Cinema