

And she too needs to groom herself to show versatility.

New girl Bindu Madhavi is ok with the character she played in the film. Kamal Kamaraju is ok with his physique and bearing but needs to groom in expressions and other histrionics. How Akbar and Lakshmi unite? How the Hindu-Muslim love is accepted by Lakshmi's father who believes in strict Brahminism? How the hotel business will be started by that family? How Akbar becomes a hero in his village from mere auto driver? All these form the rest of narration. Lakshmi (Bindu Madhavi), the elder daughter in that family falls in love with Akbar. Their plan is to start a hotel business there and also sell avakaya. But Akbar follows 'love all' concept.Ī Brahmin family newly comes to that village in exodus from another village and resides in a house. Babar, a Muslim leader in that place wishes to divert Akbar as religious chauvinist. He, along with other young uneducated gang lives under the rule of Masterjee (Rao Ramesh), the village head. He is an orphan as lost his father in childhood.
Jai simha great andhra driver#
Producers: Sekhar Kammula and Chandrasekhar KammulaĪkbar (Kamal Kamaraju) is an auto driver in a village called Devarakonda and also works as paper boy in the early morning.
Jai simha great andhra movie#

Rather than seem funny, it ends up looking crass and despicable.Ĭrass is what defines this film, complete with double entendre and more and more of the same: third-rate parody. This funny idea is wasted by showing the mother-in-law as beating up a pregnant lady. There is one scene which reminds us of EVV Sathyanarayna’s comedy style: the boy child is a burden whereas the girl child is not. Sampu’s diving into a lake in Singarayakonda, and his rising up in Africa is the most important example. There is a limit to what can be sold in the name of a Dasari Narayana Rao on steroids (this was our description in our Hrudaya Kaleyam's review, too).Ī scene or two is a parodic commentary on South Indian films. This one rides on the shoulders of Sampu and disastrously so. The last time we saw a whole film ride on the back of its hero was Gabbar Singh. It beats imagination that someone thinks a whole film can be run on the basis of this single idea and no other.

The audience has no option but to derive fun from the fact that a ‘cosmetic nightmare’ like Sampu is thought of as a Milky Boy. The director’s idea of delivering laughs is having his hero spoof earnestly Balakrishna’s memorable lines from ‘Legend’. Singham 123 enters a town and challenges the most dreaded gangster. It follows the same template of indulgent spoofs and confused presentation. It is a thematic sequel of ‘Hrudaya Kaleyam’. This film is essentially a disjointed gag fest. But for the fact that there is no head and tail, to be precise, a semblance of a story, it won’t happen. Manchu Vishnu’s this production would have been as much a transitory sensation as Sampu’s fortuitously popular debut movie was. Sampu plays Singham 123, a cop with an extraordinarily improbable flashback of a prisoner. Sampu is so popular that James Cameron ropes him for Avtar 3 he will act in the movie without make-up, causing the director to celebrate the resultant savings in budget. ‘Singham 123’ is about spoofs on everything, including Sampoornesh Babu himself. If there is anything that Tollywood has to be cured of anon, it is its lazy idea of parody.
