Indeed, this film managed to do what few movies in the 2Ks have managed–which is to demonstrate that a pretty girl is never more attractive than when she is righteously indignant. A good for nothing wastrel, who still respects a woman’s honor and protects it when necessary. And yet, Kshana Kshanam managed to do what all these never could, make a morality film amidst modernity.Ī career girl that has fun in her own (second shows!) independent way, but balks at immodesty. In our gutter era of Khwahish and Raaz, prurience is what has been selling tickets and filling up seats. And yet, in spite of this meditation on materiality, it managed to give us a vision of modernity that still had place for morality. The song “Ko Ante Koti” was a lens on the dreams of economic and social advancement and material prosperity to which the masses could suddenly aspire. What’s more, the film managed to capture the emerging zeitgeist of middle-class aspiration in the Narasimha Rao reform epoch.
It was not for nothing that it even had a decent dubbed run in the north as Hairaan. Perhaps our current crop of filmmakers can take inspiration from the originality and universality of the storyline and the brilliance of its telling. It was a simple story that was well told, well-acted, well-choreographed, and simply well-executed. Fashion without faux pas, and Comedy without Crudeness. It was entertainment without cultural effacement. Indeed, it was what I like to call haute-mass cinema. Those of us who were abroad when it was released could actually showcase this movie to non-aficionados of Telugu or even Indian films and not cringe. While the movie was funny and even goofy at times–it exuded class. But for Andhras everywhere, he will always be “Nayyar gardu” from Kshana Kshanam. Undoubtedly one of India’s most talented artistes, Paresh gaaru is a household name who has been in numerous film hits in Hindi (such as Hera Pheri) and theater productions in his native Gujarati.
Here, for once, we had directors, producers, and a cast that was predominantly Telugu–and most importantly–Telugu-speaking.Įven the very Guju Paresh Rawal sidestepped dubbing to deliver dialogues himself in acchu Telugu (with hilarious results). Whether north or south, hero or heroine, in the last ten years, the Telugu industry has, in many ways, ceased to be Telugu. Of late, and to our eternal embarrassment, there’s been a glut of non-Telugu speaking imports, in the industry. Perhaps movies along the lines of KK will provide RGV a path back to cinematic success worthy of his undeniable talent. The project that was specifically developed as “a love letter to her” was none other than Kshana Kshanam.
It was so critically acclaimed that Sridevi (the then uncontested top Indian actress ) herself sought out her greatest fan to work together. Even before the gangland classic Satya turned international heads, there was 1989’s Nagarajuna hit: Siva, which made not only regional but national waves. īut there was a time when Ram Gopal Varma was truly the next big thing. From Aag to Department to Phoonk, AP’s most prominent director has had a decade of ignominy (with rare exceptions like Rann, which was excellent)–a reality even more torturous for his long time fans (present company included). It’s hard to remember the last time RGV made a good movie. I can of course go on to elaborate in a critical exegesis of the artistic merits of this film, but for the busy professionals amongst us, I will summarize with a pithy list of reasons that explains exactly why this movie was so great:ġ0. While we have had movies that amazed ( Magadheera), movies that inspired ( Alluri Sitaramayya), and movies that entertained ( Maya Bazaar), Kshana Kshanam is the only one that managed to hit all the right notes in a modern yet still timeless manner. I know it is not often that we at ACP unabashedly descend into pop culture, but given the official bifurcation of our United Andhra Pradesh, a number of you pointed out that our films are the one thing that will unite the people of both Telugu states.īut before all you Missamma, Gangleader, and Pokiri fans get your panchas in a bunch, allow me to explain. 1991’s Kshana Kshanam is quite possibly the finest film ever produced by the Telugu Film industry.