![]() ![]() The courting scenes featuring him and Ritu Varma, who plays a junior officer at the land revenue office, are dull. Nani, whose greatest strengths are his comic timing and a natural charm that makes him tick in romantic comedies, stiffens up and imitates his inferior contemporaries, turning Jagadish into a lifeless cliche. Jailed Producer Harvey Weinstein Challenges California Extradition After Indictment in 11 New Sexual Assault Cases Do not be fooled by the young landlord’s tucked-in shirt and sophisticated ways, the film gloats, for he can perform gravity-defying stunts and carry a sickle around like any masala movie hero. Jagadish unleashes bloody assault on the villains, severs limbs and breaks bones while being careful to keep his facial muscles still and hairdo intact. For the viewers who might feel disappointed by the hero’s aversion to violence in the early scene, the film offers several gifts in the latter half of the narrative. The film’s most treasured secret is the duality of his personality. However, the flashback bits show a nondescript childhood, nothing deserving the spectator’s attention. Now and then, he reminisces about his childhood, his eyes welling up and a piece of sentimental music playing in the background. ![]() He does not undergo a journey but stays still and detached throughout the narrative, like a demi-god powered by his lineage. The pivotal revelation scene is inserted into the narrative in the silliest manner, likely to cause even the most loyal mass cinema viewer to go, “Really, now?!”Īnd Jagadish is not a character worth empathising with or rooting for. There are twists aplenty in Tuck Jagadish but, thanks to unimaginative writing and staging of scenes that render the narrative bumpy, none of them are convincing. The landlord is not a despicable entity in Tuck Jagadish, but a redeemer, an overseer of reforms. ![]() A folk song about agriculture begins in the background, only to metamorphose a couple of lines later into a devotional song that praises the late landlord (Nasser) and his suave, educated son. In a pivotal scene, Jagadish urges the peasants to take on Veerendra and claim their right to work on their land. In an early scene filmed like a joke, the hero and his friends disguise themselves as Naxalites and assault a corrupt officer at his official guest house. Tuck Jagadish belongs to the new Telugu cinema that borrows elements from the erstwhile leftist Erra Cinema that portrayed the struggles of the peasant community in the region, not because it endorses the ideology of the latter but because it looks cool. When the villain sets out to grab the peasants’ farm plots, the hero abandons his boyishness and assumes the role of the village’s guardian. Veerendra is the yin to Jagadish’s yang an uncouth villager diagonally opposite to an educated modern man who likes to dress like he is ready for office any time. He controls the local land revenue office, the film’s centre of conflicts, using money and muscle. A thoroughly remorseless murderer, the latter is also a habitual sexual harasser. At the same time, Veerendra (Daniel Balaji), the head of the second family, is a blown-up villain who flexes his muscles and clenches teeth for reasons as minor as a wailing infant. In an early scene, he is seen carefully tending to an injured fowl. Jagadish, the scion of one of the families, possesses a laughably heightened version of righteousness. In Tuck Jagadish, emotional continuity is as petty a concept as subtlety.Īt the centre of the film are two feudal families. The background score oscillates unevenly between mawkish and upbeat. In his palatial house, he reunites with a horde of relatives who, like diligent stage artistes, come forward one by one and perform soap-operatic melodrama. Jagadish (Nani) enters in a shiny car, rolling out deadpan humour. However, in the ninth minute, the film changes costume to become a comedy. Scenes of betrayal, high-pitched wailing and battered life in a village ruled by a brutal landlord. Within the first eight minutes of Tuck Jagadish, a Telugu language drama directed by Shiva Nirvana, four men are gruesomely murdered, in separate incidents of land disputes.
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