Uppu Kappurambu

Loved KeerthySuresh performance. Suhas was good too. Great production values and a fresh concept.

Story : The film is set in a fictional village called Chitti Jayapuram in the 1990s, where the village faces a bizarre dilemma when their cemetery runs out of burial space.

Apoorva, played by Keerthy Suresh, is the new village head who, along with Chinna, the graveyard's caretaker (played by Suhas), is tasked with finding a solution.

The film tackles weighty subjects like patriarchy, communal divisions, and death with dignity while encasing them in a unique, humorous story.

What is your thoughts.

A rural story set in an earlier period, featuring a woman as the lead who becomes the leader of a village and resolves a problem. The main conflict arises when a shortage of burial space in the village graveyard enters the plot, and the solution stands out because it goes against the village's traditions. The plot goes as finding solution to the problem. A slow run story, but this film might not disappoint viewers looking for a fresh or engaging story. It's a decent film that stands on uniqueness of different characters and keeps engaging in unexpected scenes. This movie successfully balances entertainment and depth, would be better if the beginning scenes shorten.

'Uppu Kapurambu' movie review: An interesting idea undone by an overdrawn narrativeKeerthy Suresh and Suhas anchor a partly-entertaining dramedy on life, death and everything in between. It is a scenario straight out of the wildest dreams, or nightmares. An entire village, dressed in festive finery, gathers around a specially constructed stage. There is anticipation in the air, a celebratory mood. But the master of ceremonies (Vishnu Oi), a man summoned from a neighbouring town, is left stunned when he learns the purpose of the event: a lucky draw to determine who will win slots in the village burial ground, now perilously close to running out of space. Director Ani IV Sasi, who previously helmed the offbeat Telugu romance Ninnila Ninnila, returns with Uppu Kapurambu - a madcap satire that takes on the politics of death, land, and legacy. Screenwriter Vasanth Maringanti weaves in layered subtexts touching upon gender, caste, money, and power, exposing the absurdity of fighting over land meant for one's final rest. Set in the fictional village of Chitti Jayapuram in 1990s undivided Andhra Pradesh, the film creates a universe that feels both outlandish and uncannily believable. The absurdity is deliberate, but the attention to detail - be it in Sri Nagendra Tangala's production design, Poojita Tadikonda's pitch-perfect costumes, or Divakar Mani's earthy cinematography - grounds the story in a very real milieu. Sweekar Agasthi's music, too, hits the right notes, adding whimsy without overplaying its hand. It takes a while to settle into the film's farcical, morbid tone. One early scene sets the stage following the death of a village head - his burial becomes less a solemn occasion and more a social gathering, complete with idle gossip, performative weeping and irreverent humour. His daughter, Apoorva (Keerthy Suresh), is reluctantly thrust into the spotlight as the heir to the post - a role passed down through generations. Things spiral when Chinna (Suhas), the caretaker of the village graveyard, discovers that burial space is rapidly running out. This simple logistical issue triggers a snowballing crisis of power, privilege, and pettiness. Apoorva, woefully inexperienced, fumbles through her newfound responsibilities. Her bungled attempts at diplomacy are laced with biting satire, particularly in a scene where she tries to deflect scrutiny by bringing up the Iran war and tomato prices in the same breath. Babu Mohan as a well-off, elderly aspirant for her position, and Shatru as a fiery young challenger, embody the absurd politicking that underpins this death-centric tale. Sasi and Maringanti craft a village that thrives on absurdity over logic, but after a point, the humour turns laboured. The whimsy that starts off fresh begins to feel overly exaggerated and even cartoonish in tone. Amid the chaos, it is Chinna and his mother (played by a grounded Talluri Rameswari) who emerge as the film's conscience. Years of working as the graveyard's caretakers has given them the wisdom about death being the great equaliser, or is it? After all, the elite still manage to secure premium burial plots and ornate headstones. As the film sprawls into multiple subplots, Uppu Kapurambu loses some of its sharpness. The 2-hour-14-minute runtime begins to drag, weighed down by gags and a wavering tone. However, the narrative regains some traction in its final act. The film ends on a poignant note, reflecting on how status and pride, often derived from power and wealth, can prove futile in the face of mortality. Apoorva's evolution into a village leader is conceptually compelling, but her arc lacks emotional heft. Keerthy Suresh gives it her best, yet the comedic beats written for her character rarely land. It's only in the final scenes, when she muses on the symbolism of the film's title, that she finds her footing. Suhas, ever dependable, brings nuance and relatability to Chinna. His performance, understated yet effective, carries the emotional weight that the film sometimes fumbles elsewhere. Uppu Kapurambu has an intriguing premise and flashes of brilliance, but its inconsistent execution stops it from becoming a truly memorable satire.

Uppu Kappurambu has a storyline with great potential, and it starts off strong-especially thanks to Rana's narration in the beginning, which is particularly engaging and sets the tone perfectly.

Suhas delivers one of his best performances, bringing real depth to his role. Keerthy Suresh's character feels a bit cartoonish in the early part of the film, but her arc gradually shapes up and ends on a decent note.

The second half, however, loses some of its grip. The storytelling starts to feel weak and a bit stretched, which takes away from the initial promise.

On the brighter side, the visuals and setting are beautifully done. The locations bring the 80s village vibe alive, and that nostalgic aesthetic works really well.

While the film was pitched as a comedy, it doesn't quite land on that front. But it still works as a simple, casual watch at home-definitely better suited for an OTT release than theaters.

Uppu Kappurambu is one of those rare films that makes you question not just its content, but its very existence. With a wafer-thin plot - if you can even call it that - and writing that seems to defy logic at every turn, this Amazon Prime exclusive leaves you wondering how it ever got a green light, let alone a platform like MGM behind it.

The film stumbles right from the start. Instead of a coherent story, we get a chaotic string of scenes that are either painfully unfunny or bafflingly irrelevant. Attempts at humor fall flat, and what's worse, the film doesn't even try to make up for its lack of substance with style or heart.

It feels like the writers threw logic out the window and filled the gaps with frivolous nonsense that neither entertains nor moves the story forward. You keep waiting for the film to redeem itself - maybe a twist, a clever moment, or at least a laugh - but it never comes. The pacing drags, the dialogue grates, and the entire viewing experience feels like a test of endurance.

One has to wonder: who at MGM looked at this script and said, "Yes, let's make this"? It's baffling.

Being released straight to Amazon Prime might have saved it from box office embarrassment, but the platform's real danger is its audience having a remote handy. And trust me, they'll use it - to pause, fast forward, or more likely, exit entirely.

If you actually manage to sit through the entire film, congratulations - you deserve an award. Not for understanding the plot, but for your sheer patience and perseverance. Uppu Kappurambu is a forgettable, frustrating mess that's best left unwatched.