Jeevi rating: 3/5
Punchline: film on humanism
Genre: Thriller
Type: Straight
Banner: Zee Motion Pictures
Cast: Charmme, Nishan, Dhanush, Pradeep, Lahari, Master Sai Kumar, Srivastav, Sridhar Rao, Ali, MS Narayana, Sudeepa, Narsing Yadav etc 
Music: Koti
Cinematography: Jagan JRJ
Editing: Marthand k Venkatesh
Story - dialogues: Padmasri
Screenplay - direction: V Eeswar Reddy
Producer: P Goenka
Release date: 27 March 2009
Review
Story
Manorama chat bhandar is a popular hangout place for Hyderabadis in Koti area. Geetanjali (Charmme) stay
s at an apartment that is just opposite to Manorama chat place. A stranger arrives at Manorama chat and plants his bag containing a time bomb. The bomb is supposed to blast at 1 pm and it fails to do so. There are chances that it may go off at any point of time. That is when that stranger sees Geetanjali at chat bhandar and develop soft corner for her. The rest of the story is all about the bomb and the relationship between the stranger and Geetanjali.
Artists Performance
Charmme did a different role in this film. Her histrionics in the second half are worth commending. Newcomer Nishan is pretty confident. National award winning child actor Sai Kumar (Belly Full of Dreams fame) did the role of a servant in chat bhandar and he is very good. Dhanush and Pradeep (Radio Mirchi) are good in their roles. Lahari impresses with casual acting. Model Sridhar did a positive role. Ali and MS Narayana are uninteresting in this film. Srivastav (Hyderabad Nawabs fame) is mildly entertaining though he went overboard towards the end.
Technical departments
Story - screenplay - direction: Story of the film is humanistic. It preaches that love should overcome all the hatred developed by mankind due to various issues like religion and regionalism. The concept of Charmme watching Cha
t Bhandar and surroundings using a binocular from the window of her room and discovering that something is wrong reminds us of the Alfred Hitchcock’s film ‘Rear Window’. The entire Manorama chat bhandar set-up remind us of Gokul chat blasts that happened recently. The idea of animated 500 note is innovative and gives lot of relief. The dialogues written and dubbing done for the same is very good. Director Eeswar Reddy handled the first half smoothly. But he could not narrate the love angle convincingly in second half. He didn’t do the characterization of Charmme character properly. We are supposed to be sympathetic about her character, but we end up becoming bored due to the excessive preaching. The second half drags and it needs some serious trimming. The story idea and the set up of plot are good. This kind of plot needs stylish execution and sophisticated treatment. But, Manorama film isn’t treated with classy execution.
Other departments:Songs of the film are mediocre. One song is inspired from Bollywood flick Gangster (Bheegi Bheegi). Background music is adequate. Dialogues are neat. Cinematography by Jagan is average. Art direction by Ashok is authentic. Editing is fair. 
Analysis: First half of the film is nice. The second half drags. The plus points are plot idea and humanism. The negative points are slow second half and excessive preaching. It is a risky proposition to make a film with limited locations and with an idealistic story with hours of time-frame. Producer should be appreciated for it. On a whole, Manorama is not a bad film though a better handling of script would have made the film more interesting.
Download Links
Part one
Part Two
Part Three
Part Four
Part Five
Part Six
Part Seven
Siddhardh is a playful youngster with no emotions. His parents get separated in his childhood and he stays with his mother. He falls in love with Geeta (Tamanna) who comes to Hyderabad from a village. When she introduces him to her father (Nassar) he says the he would give the hand of his daughter to him if Siddhardh unites his parents. The rest of the story is all about how Siddhardh unites his parents (Ramya Krishna and Prakash Raj).
Story: Story of the film is nicely divided into two parts. The first half is about two youngsters falling it love and hence it is targeted to the youth. The interval block is about heroine’s father putting a condition. The second half is about the couple uniting the parents of hero which is targeted towards the family crowds. The whole film is based on the point that Prakash Raj and Ramya Krishna are separated. The reasons for the separation are not effectively established in the film. Hence the basic foundation of the entire film appears flimsy. 
Screenplay – direction: Screenplay of the film is adequate. Direction of the film is good in parts. The narration is very slow. The director did well in second half while handling emotional scenes. But he could not get it right when it comes to the romance aspect in the first half. He should be commended the way he integrated the songs into the film. The thread of ‘crossing marks on the people you dislike’ (‘flushing the photo in toilet’ from Jab We Met?) is interesting. Vankai curry thread is also good. The characterizations should have been more consistent. Both Siddhardh and Tamanna characters in second half behave little amateurish from the scene when they quarrel about Geeta’s surname. 
Other departments: Songs scored by Shankar Ehsaan Loy are excellent and they are picturized well and placement is perfect. Songs are so good that they dominated the story narration in the film. Lyrics by Sirivennela and Chandrabose are good. Mani Sharma’s background score is nice in the second half. Cinematography by Vijay C Chakravarthy is excellent. Dialogues by Abburi Ravi are neat in the second half. There are sentiment-oriented dialogues like ‘Evarikaina problem vaste amma nanna daggaraku veltaru. Amma nanne problem aithe?’ and Trivikramish lines like ‘nenu kaalu tho break veyyaledu, jaalitho break vesa’ (Brahmanandam). Editing by Srikar Prasad is adequate. Producer Nallamalupu Bujji should be commended for trusting his technicians and making this film with high technical standards.
Analysis: First half of the film is average. Second half has got emotional content. The plus points are excellent songs and emotions in second half. The negative point of the film is slow-paced narration (2:50 hours runtime). The scenes towards climax appear prolonged. On a whole, KIKK is an okay film that is targeted towards family crowds. KIKK is not a film for the morning show crowds. It is more targeted towards second show crowds (family crowds).
Sasirekha (Genelia) is summoned by her strict father (Ahuti Prasad) to return home. After coming home she realizes that her marriage is fixed with an NRI and her wedding is due that night. She also learns that the groom’s father is money-minded. She has no choice left but to run away. She meets Anand (Tarun) on her journey. He protects her and helps her. The rest of the story is all about the background of Anand and what happens between the couple. 
Genelia: You would see an entirely different Genelia in this film. She did not wear any make-up. She is completely child-like and playfully innocent. It appears like she dubbed her own voice in certain scenes of the film. Her hysterical performance when she is slapped shows another shade of her. And her performance in the scene in which she banters after getting drunk is very good. She gave wide variety of expressions in this film.
Others: Tarun plays the second fiddle. But his performance in the hospital scene in the climax is ultimate. Ahuti Prasad scores again in this film. But his usage of expletives at end his dialogue is little discomforting to ears. Subbaraju dons a refreshing (away from his usual roles) role in this film. He is excellent. Paruchuri Gopala Krishna is extremely good as the villainous elder. Abhi did a significant role. Monali Chowdary is good in a cameo. MS Narayana is excellent in the tax-payers episode. Vamsi (Paiditalli from Happy Days) has a small, but interesting role. 
Other departments: Music of the film is alright. The best song on the screen is ‘Edo’ that comes before the climax. Nice rendition by Saindhavi helps the mood of the situation. Dialogues are nice. Krishna Vamsi seems to be allocating a few minutes of his film’s runtime to eulogize certain things in his recent films. If he had lengthy dialogues about railways and Indian traditions in Rakhi and Chandamama respectively, he tells some good things about Vijayawada (only after belittling it). Cinematography is adequate. The producer should have taken more care in the postproduction (especially DI) which would have enhanced the visual appeal of the film. 
Analysis: The title cards sequence (involving visuals of Maya Bazaar song Aha Na Pellanta’) is very good. The first half of the film is adequate. The initial half of the second half is boring (a common problem with journey flicks if they do not have conflict point). The director makes it up in the last half an hour. The positive points are Genelia and last half an hour. On the flipside, there is no conflict point (that creates dramatic impact) in the second half. This film has elements that can go well with class audiences and women. We have to wait and see how it fares at box office. 
