Indra (2002)

What better way to kickstart #HBDMegastarChiranjeevi celebrations than to finally hear Chiru's own voice in a movie? And what better movie to watch than one with the song 'Dayi Dayi Damma' which changed my life for many reasons, the most important being the realisation that KK is one of my favourite singers ever? (Don't ask me why it took me so long to realise this, but when he sang 'haaye haaye haaye', I felt it with my entire soul). Also, THE VEENA STEP. How is that humanly possible? HOW?

Now, I would like to begin this formal articulation of my thoughts on this movie with the character I simped hardest for- Snehalatha Reddy (Aarthi Agarwal). My girl literally enquired about the legality of a woman claiming rights to ancestral property, way before the Supreme Court took notice of the issue (this is inspiring me to make a meme). The way she marched into Indrasena Reddy's house, and demanded his hand in marriage? And the way she didn't hesitate even for a moment after learning the truth? The word "iconic" doesn't do her justice. It's incredible to see a woman taking charge of her own life in a mainstream Indian movie, and I firmly believe that we must respect it whenever we see it. Even Pallavi Reddy (Sonali Bendre) is shown to be making her own decisions most of the time, although her father (Prakash Raj, who else) infantilising her and being gross about her ruins all the feminist fun. Speaking of #feminism, Indrasena Reddy's (I'm going to refer to everyone by their full names, because that's what the movie taught me- yes, no one has a nickname in the movie, and everyone is a Reddy, duh) (Reddy 2 kill, amirite?) monologue about mothers left me feeling a lot of things, and I suspect it mostly had to do with the incredible depth that Chiranjeevi brings to his characters. He was equally believable as the pious leader who kept an arduous fast for the sake of his people, and as the infuriated killing machine who had had enough of his enemies, and then as the innocent man revelling in the season's first showers, AND then as the disgusted human being who can't believe a father would go that far, all within the span of some twenty minutes, if not less. There was nothing jarring, no moment where you felt disconnected from the narrative because of the leaps and bounds that it made- it's all tied up in such an organic way, and it really made me appreciate the "mega-ness" of The Megastar (pre-retirement Megastar only please- these men should learn how to stay retired!!), which is something beyond both good acting and good entertainment. 

This was one movie that really made me wish I had a packet of popcorn to snack on. Even though I watched it on my laptop, I got the full big screen cinematic experience, something that is so rarely duplicated in other settings. I could hear the laughter certain scenes must have evoked, the hoots at the amazing songs and dances, the triumphant cries at the cathartic scenes, and also the sound of a bunch of people sobbing at the emotional scenes. You just know that this role was written for someone of his calibre, and it makes you want to transport yourself back in time to the time this movie had released (with a full working knowledge of Telugu) (since I am imagining time travel, I can imagine other things too) and catch it at a cinema hall, fulfilling its intention to be experienced as an awesome, immersive spectacle. 

Minor spoilers ahead:

I would also like to take this opportunity to postulate that Indrasena Reddy was not straight. And if you think that I haven't come with receipts, you think WRONG. Like I told my friend who pushed me into this TFI spiral, I will make everyone see the gayness in this beautiful industry. And Indrasena Reddy was just... well, time to delve into the receipts. First of all, we never saw him having any sort of desire for either of his "love interests". All the heterosexual songs (for lack of a better term) were in the woman's imagination (we'll come to the female gaze in the movie later). His solo songs were either religious, or about the well-being of his people. He was mostly just amused by the two women who professed their desire for him. When Snehalatha Reddy dropped by his house and announced that she wanted to marry him and him alone, he's just all "hmmm, let's see what you can do". He never reciprocated her feelings, and it's the same with Pallavi Reddy. Also, he agreed to marry Snehalatha Reddy only because it would have completed the bargain he was trying to make with her brothers- he didn't even look particularly happy about the impending union, he's only relieved that the reservoir will be built after all. And when Snehalatha Reddy took him aside to tell him that she had no intention of pulling the same stunt as her aunt, and that she genuinely respected him, his first response was: "You will leave this bungalow, and come as a poor man's wife." He was not being unkind to her, but also, he didn't really show any romantic interest either- it was keeping in line with the duty-bound caring man that we know him to be. As for Pallavi Reddy, when she informed him of the whole chain connection bit, he just looked awkward, which was so not in line with the usual dramatics of a super macho, super heterosexual hero, who would have burst into a heartfelt monologue about how Pallavi Reddy was the woman meant for him, she's the one for whom he's been waiting all his life, and now Ganga Maiyya herself has given them her blessings, so who is he to refuse this union??? Aiyyo, aiyyo, aiyyayo. I am glad the movie didn't go there. Even in the interaction Indrasena Reddy and Pallavi Reddy had towards the end, he just straight (pun intended) up asked her "Haven't you gone back to Kashi?" TOO COLD CHIRU TOO COLD. He very evidently wanted to be rid of her. And the ending proved how uncomfortable he was with the idea of being with either of them. You do you, boo @ Indra. We stan a man who lives for his people (this is not intended to be support for factionalism PLEASE). 

Minor spoilers over.

Let me now rant a little incoherently because that's the lasting effect I have had from this movie- I honestly didn't even know where the three hours went, so how can I not talk about Chiranjeevi's epic staircase scenes? And the background score accompanying them? AND THE WAY HE PULLED A CHAIR FROM UNDER THE VILLAIN RIGHT WHEN HE'S ABOUT TO SIT ON IT, WITH HIS FUCKING SCARF?? And then himself sat on it in that unforgettable way? Ugh, Indrasena Reddy is #goals, and I un-ironically want is to be half as iconic as him one day. 

No, I take that back. I actually want to be half as iconic as Snehalatha Reddy one day, because she was iconoclastic even apart from all the things I listed out earlier. For one, she redefined the female gaze. Plus, she explicitly listed out all the things that made Indrasena Reddy an attractive husband for her, and in a more literal sense, the very act of her looking at him, playfully, suggestively, and frankly, was (and still is) quite unprecedented in such mass entertainers. Her gaze was never vulgar, or even over the top- it was shown as the most natural thing, her falling in love with Indrasena Reddy, and desiring him with such openness. I hope my Telugu ammayis took back the right lessons from her back in 2002, because damn it, the heart still looks for women like Snehalatha Reddy in our movies. And to put things even more in context: it will be Indra's 20 year anniversary next year, but somehow, forget having another Snehalatha Reddy, the women in mass movies seem to be getting written worse year after year. Even in movies where the female protagonist is supposed to be the mass hero. Actually, ESPECIALLY in movies where the female protagonist is supposed to be the mass hero.

Oh my god, I can't believe I was about to end this "review" without mentioning the love of my life, Sunil. He is under-utilised her, but still managed to be one of the most epic AND adorable parts of the movie. You go, king! His mirror scene was comedy gold, and I have a feeling it's going to creep up on me at the most random times of looking into the mirror, and make me call myself "high level polished granite". (Oh, as if you don't have weird reactions to Sunil's scenes na? Hypocrite.)

In conclusion, this movie was basically what my idea of Telugu films was like before 2020. And I love it. Also, it's high time that Snehalatha Reddy is identified for the feminist icon that she is. To everyone involved in this movie, Big Thank You for giving me one meme template and reaction video after another. Your contribution will always be cherished.