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The premise is impressive. As was established through the trailer, Krishna (Naga Shaurya) hails from a ritualistic Brahmin family where the mother (Radhika Sarathkumar) knows how to have her way. When he moves to Hyderabad to do a software job, he feels liberated. This newfound freedom makes him woo Vrinda (Shirley Setia), a North Indian living in the city, at the first opportunity. Vrinda, to his fortune, is his friendly manager. Much as she loves Krishna, Vrinda is in a bind because she is barren owing to a disorder. Krishna now takes a tricky decision. He pulls the wool over his mother's eyes and marries Vrinda. Least does he realize that this is not going to be smooth sailing.<br/><br/>This film doesn't subscribe to regular notions of masculinity. In this regard, director Aneesh R Krishna must be commended. Naga Shaurya's character doesn't mind being at the receiving end of the raw deal if it makes his girlfriend happy. Like many Telugu cinema male leads, he is mistaken often by those who are supposed to behave better.<br/><br/>Mahathi Swara Sagar's musical flavour sits pretty with the mood of the film. 'Emundi Ra' is enjoyable, although the rest of the songs don't match up to its standard. Sai Sriram's cinematography makes the production values look better. Compared to Shaurya's films like 'Nartanasala', 'KVV' has got a much better visual appeal.<br/><br/>For a change, the story taps into the dynamics of an evolving relationship between a woman and her mother-in-law. In doing so, it makes sense. There are dialogues that sensitize us to the need to empathize with the pulls and pressures faced by working women. Radhika Sarathkumar makes us see her character's point without appearing mean. It's also amusing that she is shown to be someone who has the ability to predict the future accurately.<br/>Shirley Setia makes a vivacious Telugu debut. She looks believable as a North Indian migrant in Hyderabad, drawing the unwarranted attention of a lot of men. Amitabh Pradhan's negative role could have been etched in a better way, though.<br/><br/>The arc of Vennela Kishore's character is funny, with the coma portions standing out. Satya is effortless. Brahmaji can make us enjoy even ordinary lines. Wish Rahul Ramakrishna had got to do better. Annapurnamma is seen as Krishna's granny, while Saranya Pradeep and Himaja have their parts.<br/><br/>The second half is where the actual story takes place. Much of the drama happens indoors. The conversations between three different characters make for a dramatic watch. The climax has the right quantum of simplicity and likeability. The pub scene is not squandered away.<br/>On the downside, the workplace portions should have been constructed in a realistic fashion. The frustrations of Satya and Rahul Ramakrishna are captured well initially. By and by, classist humour and regular tropes like a mean guy creeping up the female lead make their way. Nowadays, the audience are expecting workplace dynamics to be shown in an entertaining way without taking creative lib
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Union ‘optimistic’ as STV staff go on strike for second time in pay dispute<br/>NUJ members at STV are seeking a 6% pay rise.<br/><br/>More talks with management are expected after STV journalists walked out on strike for a second time in a dispute over pay, a union organiser has said.<br/><br/>The National Union of Journalists (NUJ) is seeking a 6% pay rise for members at broadcaster STV to “keep pace with inflation” during the cost-of-living crisis.<br/><br/>NUJ representatives and staff attended the STV annual general meeting (AGM) in Glasgow on Wednesday where they put questions about the dispute to the board.<br/><br/>Nick McGowan-Lowe, NUJ national organiser for Scotland, said they are optimistic the industrial action and attendance at the AGM has “had the desired effect” and said that more talks with management are now planned.<br/><br/>The action by NUJ members at STV across Scotland will disrupt news programming on Wednesday, with the flagship STV News At Six programme due to be replaced by Sean’s Scotland, and network show Peston aired in place of Scotland Tonight.<br/><br/>Mr McGowan-Lowe said there was a “strong” presence on the picket line in Glasgow, where staff were joined by colleagues who had travelled from Dundee and Edinburgh.<br/><br/>He said: “We put questions to the board about the dispute highlighting that, and as a result both the chair and the chief executive have committed to get back into talks as soon as possible.<br/><br/>“At the moment the next step is more talks to moving towards a resolution so we remain optimistic that today’s strike action and attendance at the AGM has had the desired effect.<br/><br/>“I really think we showed our strength today and I’m hoping that management at STV have understood that they need to take control of this dispute and sit round the table to work out an agreement.”<br/><br/>The strike comes after union members walked out for 24 hours on March 28 and the latest pay offer put forward by the company was rejected by staff.<br/>NUJ members at STV around the country including Inverness, Aberdeen, Edinburgh, Dundee and Glasgow walked out for 24 hours on Wednesday.<br/><br/>On the picket line in Glasgow they held banners calling for “Fair pay for journalists” and “Fair pay now”.<br/><br/>An STV spokesperson said: “STV has always been open to dialogue and today both our chair and chief executive reiterated the company’s willingness to continue discussions and hope for a swift resolution.”<br/><br/>The company added: “We’re disappointed that following discussions and an enhanced offer being made, members of the NUJ have decided to proceed with strike action on May 1.<br/><br/>“We understand that almost half of NUJ members voted to accept the enhanced offer, which included a bonus payment for all STV staff.<br/><br/>“We remain open to further dialogue but the NUJ’s claim for an above inflation pay increase of 6% – nearly twice the current level of inflation – is unrealistic and unaffordable. We have made clear that we will not agree a separate deal for NUJ members in excess of the award for all colleagues; and we mainta
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I starring Chiyaan Vikram, Amy Jackson, Santhanam, Suresh Gopi, Ramkumar, Upen Patel, Powerstar Srinivasan, Yogi Babu and Ojas Rajani.<br/>I, the film, has three distinct acts. The first is of Lingesan (Vikram) obsessing over supermodel Diya (Amy Jackson), who smiles down at him from billboards and through the television and in newspapers. His fascination for her results in some bizarre manifestations like the song sequence where his handset and motorcycle (and even a fish in a supermarket) take Diya’s form.<br/><br/>When he is not being just a tad bit leery, Lingesan trains at Arnold Gym (very subtle nod to his idol) to prepare for the Mr. Tamil competition. When a bulky rival tries to scare him away, Lingesan challenges him to beat him at his game and not ask him to back away like a woman. (Bombast dialogue = 1. Notions of gender = 0). The competition plays with the standard masala humourthroughsongs like ‘Made in India’ and ‘Marhaba’to jolt you out of the staleness-induced stupor.<br/><br/><br/>There is a fight scene after that with a few muscled competitors and the hero, because winning graciously is a lost art on them. After punches and bodies fly thick through the air, there is a moment when the men regroup on the hero to jiggle their moobs at him. That is only beginning of the cringe-worthy scenes that are to follow.<br/>Meanwhile, Diya is constantly badgered by her co-model John (Upen Patel) for a date. She does not comply and he uses his clout to remove her from key assignments. Act 2 has Diya grooming Lingesan into Lee, a more enticing professional counterpart. Here, the makers throw in a transgender makeup artist (Ojas M Rajani), the stereotyping making the most hardened viewer recoil. Act 3 features a gruesome sabotage of the hero’s appearance, which morphs into a revenge drama. Lingesan, seething, disfigured and vengeful, will give it as good as he has gotten.<br/><br/><br/>I may not have an original concept, but a less tiresome execution could have worked immensely in its favour. The beginning may seem made with the quintessential flair of a standard potboiler, but the sequences shot in China are truly breathtaking. This happens in Act 2,when the proceedings are still light and Diya-Lee team up for a perfume advertisement. A fight scene shot on the rooftops, with murderous cyclists, is the only one that stands out in the entire film.<br/>Despite being a love story, the romance angle is uninspired. Diya does not seem drawn to Lingesan, except for his machismo.<br/><br/><br/>The dramatic scenes in the latter half of the film are heavy-handed and replete with ham moments that could give a butcher a complex. Lavishly shot song sequences to dot the narrative, end up stretching the film’s running time and the audience’s patience. Despite some stunning visuals, the songs offer little by way of melody.<br/><br/>Even Santhanam, as Lingesan’s friend, can do little to lighten up the dull story. The film is anchored by a good performance from Vikram in Quasimodo mode (that’s some great makeup there), which
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