What’s it about!

Balu (Manoj), an aspiring singer in Bhadrachalam, comes to Hyderabad to test luck in music field. Sravya (Tapsee) comes down to Hyderabad from USA and tries her luck in the same way too. They fall in love. She stays in Hyderabad at Captain Rao (Mohan Babu) and he tries to separate them. The rest of the film is all about Balu winning singing competition and his love.

Analysis
Veteran director K Raghavendra Rao redefined the way commercial movies are made in Telugu with Adavi Ramudu (1976). Since then he became synonymous for commercial masala films although he made some memorable classics in between. But again, like many other yesteryears directors, he has lost his Midas-touch and has been making films with his old school of thought. Jhummandi Naadam is no exception. It stills smells of old wine despite the filmmaker’s attempt to put in new cans of reels. With a predictable story provided by Bhupathi Raja and cut-paste scenes of several hit movies, the screenplay and narration style lacks any freshness to suit the current audiences. Raghavendra Rao in usual manner completely focuses on songs (which are undoubtedly good, thanks to Keeravan’s melodious score) and exposing of heroine.

The so-called conflict between Manoj and Mohan Babu, the comedy scenes also lack the punch.

Performances

Manchu Manoj always exudes high energy and he shines in this film too although his characterization is not that pretty novel. He even excels in scenes involving his father veteran actor Mohan Babu. But he needs to show off consistency in portraying the role till the end. On his part, Mohan Babu does underplay to make his son to steal the show. Tapsee, the new girl, has shown all her vital assets to please the audiences but doesn’t have any material to become a fine actress. The less said about her facial expressions and acting abilities the better. All other actors - Tanikella, Sudha, Suman, Pragathi, and host of other comedians, have done okay job. Ahuthi Prasad does villain role.

The film completely belongs to M M Keeravani. Probably after Magadheera, he has given a musical score that became an asset to the movie. Although his songs are not completely novel, they are mellifluous to the ears and Raghavendra Rao, the master of picturisation of songs, evocatively films them to please our eyes. Senior cameraman S Gopal Reddy’s visuals are also appealing. Veteran director Raghavendra Rao should come out from his old school of thought – trying to manage the film with some good – to stand in today’s race.

Bottom-line!
Jhummandi Naadam has nothing new to offer except some mellifluous numbers and eye-catching ‘glamour’ here and there. It is predictable stuff and old wine in old bottle.

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