Mahanati

Direction, Background Music, artist performances....everything is superb.

Especially 2nd half is really really good.

Excellent movie that lives upto the expectations of a biopic about the legendary actress!

Let me start with what I remembered when I heard the name Savithri until I saw the movie. I remembered the queen of weepy movies that the kid in me didn't want to watch on a Sunday evening. I remembered my grandmother's heavy praises about her acting. I remembered her masculine acting in the movie Maya Bazaar, the movie I loved. I remembered mentions about her being a drunkard which made me wonder why would such a popular actress go mad like that. Little did I know that she was a fun-loving person with interest in race cars, a philanthropist and had so much complications with marriage and life but lived like a lioness until she fell prey for alcoholism.

I went to the movie expecting a linear narrative of Savithri's life story but was pleasantly surprised to see that the director Nag Ashwin decided to take us through the journey of a lady journalist in 80s who was covering Savithri's death (Two Period movies in one). Here I am thinking high about this young pony-tailed newbie director just for taking up such an attempt instead of the usual masala and he strikes me even hard with his attention to detail, unexpected comedy and handling of emotional scenes with finesse. It only makes me wonder how many producers are out there (other than his father-in-law who produced this movie) who can bankroll for this crazy guy's future ambitions. Needless to say he has been added to my short list of directors to watch for.

Keerthy Suresh! She really makes sure that nobody can brush aside her choice for Savithri as just by chance for being a close look-alike physically. While it's not a surprise that she shines in the early portions as a playful teenager which she has portrayed already in other movies, she also proves that she can deliver a plethora of emotions including fit of rage, helplessness etc. Her mimic-ing of 60s like facial expressions and jaw movements also help the role. I would have liked to see less of her teeth in some scenes though. But I have to say I expected more from Dulquer. I didn't see Gemini Ganesan's soft-spoken charm come across but he does score in later scenes while expressing frustration. Samantha does her part well but I am not sure what exactly others see as special in the climax scene. It was just usual.

Coming to the shortcomings of the film, I felt Nag could have tried to replaced certain scenes with just a dialogue/narration to avoid the awkwardness. For ex, the laddu eating scene right after showing her marriage problems, comical engagement scene of Samantha while the audience is trying to digest the fact that Savithri became an alcoholic. It's like eating dessert between sambar rice and rasam rice! Hope he will learn with more films how important it is to maintain the emotional state of audience. Oh and btw, padding actor's face with stuff just to show that she put on weight doesn't help with expressing emotions. Even Kamal did this mistake in Dasavadharam so I don't blame Nag much.

I have one burning question though. How does the story of Savithri (going from success to failure due to her "love" for a married guy who cheats her later) inspire Samantha to "kick"-start her love life opposing even her parents, I don't know. What would have been a perfect end to her story is if she develops courage to fight against male chauvinism inspired by Savithri. Poor Nag might have been worried about alienating male audience too much.

Overall, If you're crazy bugged about the formula movies that they're spinning nowadays and would like to spend some worthy time in nostalgia, go watch this movie.

From a person who has almost zero knowledge about the telugu film industry and its upbringing, Mahanati's aura and atmosphere will always be distant from me. But even from that itself i was able to witness an epic, drawn from a simple script and effort that makes this a great, if not , a must watch.

Telugu film industry is probably considered by many as the place that houses simple, no nonsense mass masala films. But recent times has proven us wrong. From Rangasthalam , Baahubali and Arjun Reddy, it has proven itself to be able to sustain well executed, brilliant films as well.

Mahanati will be a film that has the potential to be a classic. But not all biographies achieve the reach and attention that Mahanati so easily gets. It's not about the making, but how the story is told that makes it so damn exciting. From the loose opening to the grandeur ending, Mahanati is a gift to all those who embrace film in its raw form : to tell a story.

Biographies often have the tendency to fictionalize certain events for dramatic purposes. And i don't know how much Mahanati is fictionalized. As much as i can differ between those which are fictionalized and those which are real, Mahanti has done that expertly. The fictionalization is on spot. It can be compared to, perhaps as a event that is to emphasize something more, rather than just a blunt scene.

Mahanati's biggest plus might be its cast. Keerthy Suresh has grown from a simple, 'cute' actress to someone who can wield powerful performances, if demanded. Dulquer, Samantha all provided the performance that everyone expects. It is sure a economical casting. Dulquer has his roots in Malayalam. So does Keerthy. Samantha has established herself a prominent actress in the whole of south India and Vijay Deverakonda's next film is sure to make the counters ticking.

The cinematography does need some mention. The frames were slick, moving and fast. It doesn't sacrifice space for sub-par elements. Though the comedic scenes were bit of a mess. Perhaps it appeals to the region based film critics.

Mahanati is south India's answer to a legend. And it sure is one.

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I wanted to give it 9 stars because movie did take artistic liberty with a few of the scenes, but I have nothing but praise for how they went about making this film.

The parallel story to help us connect with the past is brilliant story telling. The research done by the costume department paired with the cinematography of Dani Sanchez-Lopez gives us the closest one can come to time traveling into the past while staying put. Venkateswara Rao Kotagiri's editing features seamless transitions when switching between time periods and helps with Savithri's aging process without abrupt change. The soundtracks and background music isn't you typical people breaking into song and dance but an extension to the emotions experienced by the characters. The director can pat his back for the casting. You have given a chance for Keerthi to show her acting skills. The support cast did a great job too. Samanth's dialog delivery at the end of the film gave me goosebumps. DQ's performance as a charmer translated across the screen.

This is the sort of cinema I have been waiting for. If film making is one of the prominant art forms of contemporary telugu people, the commercial mass films do little to progress the art form. There is art for art's sake. There is art for a reason. This film is definitely the latter. I have often wondered how we went from the likes of Satyajit Ray to what we have today. This film is what I have missed for a long time. It makes me proud of my heritage. I cant wait to watch some of the older films featured in this film.

It left me teary eyed and stronger somehow. Thank you Nag Ashwin for this work. I will follow your career closely from now on.

A rags to riches story fascinates and provokes admiration, just as riches to rags story evokes sympathy. How are we to feel about the life of Savithri who in a short life span of 45 years combined both? She was never in destitution, to be sure, but the film wants the audience to experience extreme highs and lows along with her, and by and large delivers. The film fields some of the biggest names, even in minor roles, a sign of the admiration, nay, veneration with which she is held. It is an honor just to be part of this film.

It begins at the end, with a poignant scene of one of greatest actresses, lively and proud, who reached highest levels of stardom brought down on a stretcher, to the lowly grungy hospital floor as an unknown, nearly lifeless and in coma. The exploration of her past comes in the form of two journalists Samantha's Madhuravani (surely a tribute to Savithri's outstanding role in kanyaasulkam which unfortunately does not feature in the film), and Vijaya Devarakonda's Anthony.

Child Savithri shelters a stray dog when she herself is seeking a shelter. If true, what happened to that dog may forever be lost to the posterity. What we know, however, is unlike some dog lovers, her caring and sharing nature extended to 'stray' humans who often repaid this magnanimity with emotional and financial exploitation.

We see that Savithri is raised in her uncle and aunt's home after her father passes away when she is still a months baby. The uncle (ably played by Rajendra Prasad) motivated by the lucrative glitter of film world puts every effort to make her an actress. He is protective more than affectionate, merely a guardian, not a father figure she craves for. Then in her first visit to Madras she comes into contact with Gemini Ganesan. Dulqer Salman whose supremely charming portrayal will win many a female hearts, gives a hint of what impact handsome Gemini Ganesan had on an impressionable young teenager who finds in a guy twice her age what she misses in her life - caring father figure and an attentive romantic lover. A tiny detail of his being an already married man, with kids, and with an appetite for extramarital affairs on the side is hidden from her until she is already emotionally too far into the relationship to step back.

In the popular imagination, marrying an already married man was the source of her tribulations. Surprisingly, as per the film, it plays little role in her downfall. One gets the impression that things would pan out in the same way, if she were the only married wife of Gemini Ganesan. The first wife rarely comes into picture, and the husband convinces Savithri with his male sophistry that his relationships with multiple women weighed less than his love for her.

Then the film dwells into some of her finest performances, and lucky breaks, for her and for Telugu cinema, like missamma. The film initially, tantalizingly predicts her acting with NTR and ANR, but all three were never shown together in any frame, in spite of excellent candidates like missamma and gundamma katha (the latter did not make it to the cut, though superior to doctor chakravarthy which did). Mohan Babu's SVR got more screen presence with her and the only major actor shown talking about her acting prowess. Why? Because there is also an elephant in the room - in this case missing - when depicting her film career: NTR. He is virtually absent. Reportedly this was due to the refusal of Jr NTR portraying the legend, out of some pig headed humility, and the director refusal to field any one else. Unfortunately, even while making such great films, crass clannish considerations seep into and blight Telugu cinema. The director simply should have fielded some one else. This was an egregious blunder. At least among Telugu audience, depicting Savithri's professional world without NTR is akin to showing her personal world without Gemini Ganesan.

The cracks appear in the marriage when her career is taking off when husband's is nosediving. Skirmishes are legion. When she takes to acting the guy takes to drinking and philandering. He protests disingenuously that she knew all this before the marriage. That was 'when she was Savithri, but now she is Savithri Ganesan' is her caustic reply. What she valued above anything else was trust and when people close to her break it, she is broken, repeatedly. The emotional turmoil compels her to walk out on Gemini Ganesan, in the process, severing her from the only support system she would otherwise have had in handling her finances which fall prey to a series of misjudgments and chicanery by the people she trusted.

All this was by and large known and it was the details that were lacking in the public domain. How well she was taken care of during her last months had been a controversy. Her own daughter, in earlier interviews, and her son, more recently, have refuted allegations that Savithri suffered due to neglect. There were millions of her admirers and reportedly some donors who came forward to bear the expenses. The film could have been an opportunity to set the record straight.This most crucial and tragic phase of her life remains unanswered, due to director playing it safe. Admittedly it is a tightrope act to make a bioepic that could potentially offend those who are still alive. One gets the feeling that his role as a husband has been sanitized.

Where the director excels is in the script and the introduction of fictional characters in the form of journalists. In the interleaving of past and present, their love is blossoming at the same time Savithri's is wilting. While the biography limits the director's ability to take too many liberties with the story, no such restraint existed for the fictional part and he exploits this creative dimension to the hilt and provides contrasting comic, but empathetic juxtaposition to increasingly gloomy downturn of Savithri's life. Madhuravani's Samantha speaks in stutters because she got stammer. There is no reason for Vijay Devarakonda speaking as if he is about to acquire one. He appeared to be the same character downloaded from his earlier 'pelli choopulu'. He could have been cast bit differently. However, both of them carried their roles with aplomb. So did Mohan Babu as SVR. It is charming to see the roles of legendary figures like Marcus Bartley, Singeetham, KV Reddy, mercurial Chakrapani. We miss countless others like Jamuna, Relangi, Suryakantam, Gummadi, redoubtable Adurti Subbaarao; and no MGR, Sivaji Ganesan either. The film could have an extended version for non-theatrical release. There is little mention of living contemporaries like Jamuna (Gudipudi Srihari, giant of a film critic, places her ahead of Savihtri), Kakarala Satyanarayana, who, but for his age, could have walked into SVR's role.

Even these excellent performances are majestically upstaged by mesmerizing Keerthi Suresh in the title role. Her portrayal in the iconic 'aha naa pellanta' song is so close to the original that people, even without the excuse of short sight could mistake one for the other. This is just one of the many scenes she radiates as the legend. This is also severe indictment of hidebound Telugu film's habit treating female leads as decorative pieces instead of harnessing their talent.

The director's another significant achievement is to bring Savithri to a new generation of young people.

Finally this film is a beautiful, albeit an unfinished painting on a great canvas. I highly recommend seeing this on big screen.