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"Tuvvi Tuvvi Tuvvi"

Clipping (47kbs) - The Hindu, 26-02-1999. By Jyothi Raghuram

Record Number : A0031251

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“Tuvvi Tuvvi Tuvvi”
The much-touted “Tuvvi Tuvvi Tuvvi” of Dakshayani Cine Combines might not mark the resurrection of Raghavendra Rajkumar, but it certainly is a boost to the Kannada industry for the clean entertainment it provides. The story is different and original. the casting is thoughtful, music is not a letdown; and on this has been built an attractive edifice by veteran Singeetam Srinivasa Rao. What more could one ask for in a day of remakes and “masala” films. After ‘Swastika” “Tuvvu Tuvvi Tuvvi” was expected, and meant to give a lift to Raghavendra Rajkumar’s sagging film career. What it really does prove is that despite other shortcomings, Raghavendra has a natural way about him, and cannot be summarily dismissed.

“Tuvvi Tuvvi Tuvvi” has elements of comedy, romance and action, and an engaging intertwining of situations and people, all of which add to a wholesome offering. Richard Louis, with his screenplay and dialogues, is a major contributor towards this. He also takes credit for the frothy yet plausible story.

This film defies the conventional parameters of a storyline. It is all about a merchant navy officer, Kumar (Raghavendra Rajkumar) finding an abandoned baby on the sea shore, where his ship is berthed, and his attempts to keep its presence on board a secret. Unable to find its parents and not having the heart to hand it over to the police, Kumar is left with the only alternative of taking care of the baby, which is on his ship. The escapades of Kumar and his friend (Mandya Ramesh) to keep the baby under wraps, especially away from the probing eyes of their maverick captain, Mutthappa (C. R. Simha), form a good chunk of the film’s fun, besides Kumar’s sly romance with Leena, the daughter of Peter Braganza (Doddanna) and Maria (Jayanthi), staunch Catholics.

Interspersed with this main storyline are Kumar’s brother (Ramakrishna) being entangled in a smuggling racket and his being hounded by the goons, Braganza’s escapades with his love for liquor, the idiosyncracies of Captain Mutthappa and that of liquor-vendor Kempanna (Richard Louis), whose single ambition in life is to be photographed with the captain of a ship, the inside of which he has never seen.

If all these sound confounding, then what it really results in is a fun-filled absorbing film, which has boldly given a go-by to both lewdness and gore, although there is no dearth of action in it.

Strangely, “Tuvvi Tuvvi Tuvvi” is one film which does not really rest on its protagonist, Raghavendra. It is as much a showing of all its other characters including the relatively peripheral ones who not only give a creditable account of themselves but also contribute to make it a cogent whole.

Simha epistomises the ways of a crazy yet kind-hearted captain. Despite the lop-sided character he portrays, one should concede that his bearing has a dignity, and he carries himself very well. Mandya Ramesh is a perfect foil to Kumar. Doddana, with his oversized frame, still evokes laughter. It is refreshing to see Jayanthi in a different kind of a role and costume, and she sails through her role comfortably. Richard Louis brings out the naivete and sprightliness of Kempanna. Ramakrishna lends his touch of reality by just being the character he is. He is one artiste who seems to hold promise in every film, even with the variety of roles he plays.

Raghavendra indulges in no dramatics. But Charulata disappoints even in the very few scenes that she is expected to emote, although her role is anything but taxing.

Hamsalekha’s songs are quite lively. Tara’s choreography for two of the songs on board go well with the music.







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