Actor Rajashekhar is even today known for his films like ‘Aahuti’, ‘Ankusham’, ‘Magadu’, ‘Aagraham’ etc., all of which touched patriotism. He used to excel in these roles and changed tracks to make sentimental films like ‘Gorintaku’, ‘Maa Annayya’ etc. He dons a similar role in ‘Maa Annayya Bangaram’ and this time he is paired up with Kamalinee Mukherjee, who is known to choose some of the recent best scripts in Telugu film industry. Let’s find out if ‘Maa Annayya Bangaram’ is sensible or a sentimental film.

What’s It About: Sivaji (Rajashekhar) loses his parents early in his childhood, and the only property he inherits is his six younger brothers, whom he raises with all love and care. His brothers too completely adore him so much so that only he should bring them their food! Sivaji’s uncle (Jaiprakash Reddy) arranges his marriage with a rather urban girl Manju (Kamalinee Mukherjee) who believes in a small family! But when a lie told by the uncle to Manju and her dominating sister (Jhansi) is revealed, it wrecks the newly married couple’s life. A fight between traditional values and urban thinking ensues with loads of sentimental scenes, songs and in the end the problem is solved in the climax.

What is Good: Rajashekhar, who has been using his own voice, falls back on Sai Kumar to dub for his voice and it adds to the respectability given to this character. The role is a cake walk for the actor. For Kamalinee Mukherjee this is a new kind of a role, compared to her previous films where she is the one who is teaching lessons to the hero’s in her own way. Here she is the one who is taught a lesson or two. She does well in limitations.

Jhansi brings a touch of her own real life issue and excels in a role with grey shades. It’s a risk not many actors would love to take these days. Jaiprakash Reddy is used more for comedy. Brahamanandam has a small role in which he evokes laughs. Child actor Bharath too generates his fair share of comedy.

What is bad: The script of the film belongs to 1980s. While the idea to show that large families are for good is appreciable, Bhupathi Raja uses lots of lame situations to showcase the advantage of a joint family. The brothers’ characters are shown as toothless, extremely sentimental and their complete dependence on their elder brothers is shown as their strength! The hero takes up a challenge against a so called villain, but it is completely forgotten in the scheme of things. It ends up showing the hero as a complete failure, because he is caught up in some drama with his wife.

This film will stand out as Kamalinee Mukherjee’s weakest portrayal of a woman, who can be moulded, used, manipulated by anybody ( by a husband or a sister or a neighbour) easily. The script uses tradition as a longer stick than a stick made of urban values, but forgetting the basic point – which one should be used when! It shows as if a woman can be urban, but never forget her duties – taking care of family inspite of whatever situation she is in. The threads against urban women are so irresponsibly woven that this film will end up causing a touch of hatred for them. For any not-so- highly-learned person, the philosophy that this film gives can be considered as pure blasphemy! And how many times will we see the usual pregnant woman-fight scene climax in a Telugu film?

Technical Departments: Story by Bhupathi Raja, who earlier wrote a concept like ‘Pelli Chesukundam’ is disappointing. Somehow this film reminds us of how much Telugu film industry misses guys like Yandamoori Veerendranath who are masters in giving a message, covering all aspects of life. Dialouges by Paruchuri brothers are adequate to the script, though sometimes they sound too hackneyed. Editing ensures that the film looks like it has a vision to share.

Director Jonnalgadda Srinivas should learn that both sword and a pin have their places in the world, and that highlighting one in comparison to the other becomes unconvincing. However he might reach his target audiences.

Final Point: The film is made aiming at certain sections of the society and it might attract few of them to the theatres. Its success lies in whether they will accept what the story is telling.