BOTTOM LINE
A Plain Rural Romance

PLATFORM
ETV WIN

What Is the Film About?

Prasad, a happy-go-lucky youngster, has just turned a graduate, spending three college years without gathering the courage to express his love for Leela. After many brief glances, failed attempts to strike up a conversation with Leela, Prasad finally connects with her after over mobile texts. When one of his texts doesn’t earn an immediate response, Prasad gets increasingly anxious.

Performances

This is one among Shanmukh Jaswanth’s better digital outings in the recent times, where he impressively slips into the role of an anxious village boy. Anagha Ajith has limited screen time but delivers the goods in key situations without trying too hard. RJ Mirchi Saran (Raji) is the pick of the lot among Prasad’s friends, though his timing appears to be slightly influenced by Sunil.

Other actors in the gang – Madhan Majji, Chaitanya Garikina, Shiva Thummala, Shravanthi Anand and others – have decent screen presence as well. Surprisingly, the experienced hands like Aamani, Goparaju Ramana, VS Roopa Lakshmi, don’t add much value to the proceedings.

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Analysis

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Like scores of stories in Telugu cinema and on OTT thriving on nostalgia, Leela Vinodam is a tender, small-town romance told from a male perspective. Set in the late 2000s, during the early days of the mobile phone era where communication took a new digital turn, the film banks on a simple idea, tapping into the insecurities and apprehensions of a good-at-heart, lovestruck youngster Prasad.

Borrowing a leaf out of films like Mail, Raja Vaaru Rani Gaaru, Leela Vinodam’s protagonist Prasad is a timid boy who struggles to convey his love to a college sweetheart Leela. He is surrounded by friends – Raji, Swarna and gang – who push him to do the needful but end up confusing him more. The wafer-thin story has a minimal conflict, focusing on the little joys in villages and one-sided love.

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The director Pavan Sunkara takes his own sweet-time to establish Prasad’s love for Leela in the first 30 minutes through his interactions with a best friend. While it’s evident that Leela is interested in Prasad, the absence of a direct confirmation makes the latter anxious. When he ultimately shares his feelings for Leela over a text and she doesn’t reply, all hell breaks loose.

Leela Vinodam, more than a love story, serves as a time-capsule of a different era (probably aimed at the 90s kid?) before social media, other modes of instant communication took charge of our lives and SMS was the go-to option for conversations. Through Prasad’s confusions, the film captures a brief passage of time in the character’s lives where they could afford to be irresponsible.

That the film relies on a very basic premise – a boy’s wait for a response from his lover – is its strength and weakness at once. The simplistic idea is an advantage because the conflict is very relatable to its target audience. There’s no scope for confusion in the storytelling and the tale provides an indirect opportunity to explore the rural milieu through the oddball characters, sprinkled with humour.

However, after a point, the screenplay loses its spunk and gets laborious, as the director desperately finds various ways to delay the inevitable and understand Prasad’s confusions from many dimensions through imaginary scenarios, trying to decode what factors could’ve prevented Leela from responding to him. Ultimately, the impressive climax salvages the film, ending it on a feel-good note.

Leela Vinodam is neither good nor very bad. It’s simply an inoffensive time pass fare with a few takeaways – nostalgia, humour and bromance. A more imaginative screenplay could’ve bettered its impact.

Music and Other Departments?

TR Krishna Chetan’s score keeps the playful spirit of the story intact, though the songs are strictly okay. Anush Kumar’s cinematography, replete with a lively colour palette, is an asset to the film, making full use of the pleasant rural backdrop and prominent landmarks in the village. Better work with the editing and the screenplay may have helped its cause.

Highlights?

Relatable story

Nostalgia factor

Decent performances, cinematography

Drawbacks?

Tedious screenplay

Writing lacks freshness, novelty

Inconsistent with humour

Did I Enjoy It?

Only in parts

Will You Recommend It?

If you don’t mind an okayish small-town tale on one-sided love

Leela Vinodham OTT Movie Review by M9

Megan Thee Stallion says even a jail cell can’t stop her convicted shooter Tory Lanez from tormenting her.

The “Savage” rapper, born Megan Pete, on Tuesday filed a request for a new restraining order against Lanez, who is serving 10 years in state prison after his conviction on gun charges stemming from a 2020 incident in which he shot her in the feet.

It’s a “trauma” that Pete has been forced to relive, she stated in a Tuesday filing reviewed by The Times, as her convicted shooter — whose legal name is Daystar Peterson — continues his “campaign of harassment” despite being behind bars.

Prior to his conviction, Peterson several times violated the court’s pretrial “protective and gag orders” intended to ensure Pete’s safety and well-being, according to the filing. One such violation in 2021 racked up his bail by $60,000.

Pete’s filing alleged that he now harasses her with the help of “third party online ‘bloggers,’ who [sic] Mr. Peterson employs to spread defamatory statements about Ms. Pete.” That undermines the criminal trial that put Peterson away in the first place and has caused Pete “severe emotional distress,” the filing said.

A legal representative for Pete did not reply immediately Wednesday to The Times’ request for additional comment.

Pete’s petition cited Peterson’s prison call logs and social media posts from his peers to demonstrate an organized takedown effort on his behalf.

Still, the Grammys’ best new artist for 2021 has been unable to obtain “any formal protection against Mr. Peterson’s attacks,” Pete’s petition said, because the bar for a post-conviction criminal protective order is incredibly high.

“It is counterintuitive and wholly illogical that Ms. Pete had protection by way of protective orders and gag orders issued against Mr. Peterson, while he was deemed innocent, i.e., pre-conviction, but that such protections are no longer available to Ms. Pete, due to mere technicality in the law, now that he has been convicted and proven guilty,” the filing said.

The civil harassment restraining order was dubbed Pete’s “only recourse” to take care of herself as she heals her emotional wounds.

Last year, the rapper told Elle that when the 2020 incident with Peterson became the talk of the internet, and even her music peers expressed doubt about her story, she “started falling into a depression.”

“I didn’t feel like making music. I was in such a low place that I didn’t even know what I wanted to rap about. I wondered if people even cared anymore. There would be times that I’d literally be backstage or in my hotel, crying my eyes out, and then I’d have to pull Megan Pete together and be Megan Thee Stallion,” she told the outlet.

Similarly, in her recent Prime Video documentary “Megan Thee Stallion: In Her Words,” she spoke about experiencing suicidal ideation and seeking mental health support just before the criminal trial that ended with Peterson’s multiple convictions and imprisonment, the Cut reported.

A hearing on the restraining order request is scheduled for Jan. 9.

NEW YORK (OSV News) – Catholic moviegoers will naturally take an interest in any project related to the works of their renowned co-religionist, novelist J.R.R. Tolkien (1892-1973). But the question always remains whether any new adventure set in his fictional land of Middle-earth will share in the elusive magic of the stories he himself spun.

In the case of the animated drama “The Lord of the Rings: The War of the Rohirrim” (Warner Bros.), unfortunately, the comparison is less than favorable to the newcomer. While director Kenji Kamiyama’s fantasy is often lovely to behold and its moral values are mostly in order, his tale of derring-do stagnates because the characters who inhabit it are mostly one-dimensional.

Take our heroine, Princess Hera (voice of Gaia Wise), for example. A dauntless warrior whose courage and skills are initially underrated by her otherwise sage father, King Helm Hammerhand (voice of Brian Cox), she’s a symbol of female empowerment. Beyond that, however, we learn little about her.

The conflict of the title is initiated after Hera’s childhood friend, Wulf (voice of Luke Pasqualino), seeks her hand in marriage and is rebuffed. Amid the recriminations that follow, King Helm unintentionally takes the life of Wulf’s dad, Freca (voice of Shaun Dooley), instantly transforming the bereft son into his, and Hera’s, implacable enemy.

As Wulf relentlessly pursues his revenge, the script — penned by a quartet of screenwriters — highlights his principal adversaries’ chivalrous dedication to truth-telling, faith-keeping and the granting of mercy. Yet there’s also a vaguely discernible anti-marriage message attached to Hera’s insistence on remaining independent and untethered.

While the narrative of her struggle is clearly meant to seem epic and poetic, there’s a static feel to the proceedings with Hera and her allies never faltering in virtue and Wulf proving villainous at every turn. As a result, a sense of investment in the fate of those on screen is largely lacking.

Assessed for its appropriate audience, the movie is more successful. The strife is bloodless and the dialogue almost unblemished. So, although it’s too frightening for little kids, this addition to Tolkien’s lore — set 200 years before the action of his three main volumes — is acceptable for most others.

The film contains stylized combat and other violence, characters in peril, some grim images and a single mild oath. The OSV News classification is A-II — adults and adolescents. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

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