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Velugu Needalu Jandhyala Here is the the series that focuses on the many greats who lurk in the shadows behind the silver screen bringing out the best in them, to radiate and redirect their brilliance onto the silver medium.
We hope that these articles would focus our attention and applause to these true "stars" to whom limelight and spot lights do not usually beckon upon. Part 2 Continued from Part 1 Commercial movies are such an easy target. The improbability of the plot is the first casualty. How could the hero? Why does the story? Where was it explained? How is it even possible? It is an unnecessary exercise to even indulge in the process of finding greater meaning, replete with solid plot structure and interesting story arcs in the commercial format, because, the commercial movie lays out all its cards upfront, at the very beginning.
It has a solitary purpose and that is to entertain. Now how well can do it go about doing its job of entertaining, decides how good the movie is, even if it is ultra-commercial in nature, inspite of its p l ot holes, implausibility and low-brow nature. Hero gets hold of it and stakes ownership while she tries to get it back from him for the rest of the running time. Because, that is not the purpose of the movie. The purpose of it is to generate ample comedy by throwing an angel from heaven in far-fetched situations, generate enough romance between her and the hero, generate taut drama in the climax for when she has to choose between her home in the heavens or her heart on the land.
Considering all these, commercial plot is just an excuse to harvest all these elements in equal measures, and still be entertaining while at it Case in point, Vetagadu. This same setup has since been used in many movies that were made in the 80s and 90s, where the villain goads on the heroine to go and dance with the disguised, sometimes hero, to varying degress and for varying results. The audience are least bothered by degradation of the heroine character and rather loose morals the movie promotes as long as it is treated to witty situations and rib-tickling dialogues "chooDu naanna, vaaDu nOTikocchinaTlu gaa tiTTaDamae kaakunDaa, aemannaanoo ani maLLee maLLee mana chaetae aa tiTlannee anipistunnaaDu" complains Satyanaraya to Rao Gopal Rao.
Late 70s and early 80s were the times when commercial medium was just trying to make up some serious ground, which was already staked by family-oriented strong thematic movies. To break this strangle hold that story-based movies had on the medium whether for good or bad is a different argument for another day and to steer them way towards flimsy grounds, which did not have strong foundations to start with, and to be successful at that, needs not only a thorough understanding of the commercial format, the pitfalls and all, but also the ability to make sense of the medium.
The situations in the commercial format exist for the sole purpose of elevating the hero status. The dialogues in the commercial format exist for the sole purpose of deifying him. The songs, to extract his dancing talents and the fights, to embellish his track record.
Hero is the be-all and end-all of these movies and all others characters, though spinning their own way, have to necessarily rotate around the hero. This adulation, if not backed up by the right words and the right situations, could result in the entire movie falling flat, turning the whole fare farcical than fantastic. In "Adavi Ramudu", which stands as a textbook example for commercial movie making, the hero himself maintains a low-key all throughout, while fanning and fawning too to his fares are taken up by the characters surrounding him.
This choice glorifies his character in a better way, than taking on the responsibility of tooting his own horn, and banging his own drums. Comedy is such a vital component of commercial cinema standing along-side songs and dances, that it sometimes makes or breaks the movie.
Dialogues singled out, they are not rib-ticklers in their own right, but put them together in a funny situation, the words more than make up for themselves.
Another situation - "mee paeru", "su su sunaadamaala", "adaemiTi, mooDu "su" lu unnaayaa", "laedu, oka su nae", "naae paeru V. Nothing too pompous or wordy, just the right words to get out a chuckle. The audience was all ears!
Allu Rama Lingaiah Comedy Scenes || Back To Back Best Comedy Scenes
Velugu Needalu Jandhyala Here is the the series that focuses on the many greats who lurk in the shadows behind the silver screen bringing out the best in them, to radiate and redirect their brilliance onto the silver medium. We hope that these articles would focus our attention and applause to these true "stars" to whom limelight and spot lights do not usually beckon upon. Part 2 Continued from Part 1 Commercial movies are such an easy target. The improbability of the plot is the first casualty. How could the hero? Why does the story?
Doctors take stage to give laughter shots