| 1 | '''Sogasu Chooda Tharama''' |
| 2 | |
| 3 | |
| 4 | 1995 144’ col/scope Telugu |
| 5 | d/s Gunasekhar pc Snehanidhi Films |
| 6 | p K. Ramgopal dial Ajay Santhi lyr Seetharama |
| 7 | Sastry, G. Vishwanatha Sastry c Sekhar Joseph |
| 8 | m Ramani-Prasad |
| 9 | lp Naresh, Indraja, Annapurna, Tanikella |
| 10 | Bharani |
| 11 | |
| 12 | |
| 13 | When a lowly paid engineer (Naresh) finds |
| 14 | himself in debt as a result of his lavish lifestyle, |
| 15 | his wife (Indraja) bails him out by starting a |
| 16 | home-based saree-dyeing business. Earlier, the |
| 17 | independent yet traditionalist character of the |
| 18 | wife was established when she offered her |
| 19 | future husband a dowry that she raised against |
| 20 | a personal bank loan. The ‘offbeat’ film |
| 21 | includes scenes in which, faced by a rape |
| 22 | attempt from her husband, she threatens to kill |
| 23 | him, and ends when he, chastised by his wife’s |
| 24 | initiative, finally ‘accepts’ her as an equal. The |
| 25 | director’s earlier Lathi (1992) had been |
| 26 | critiqued for betraying an excessive influence |
| 27 | of his mentor Ram Gopal Varma. That |
| 28 | influence continues to be in evidence in the |
| 29 | depiction of a lavishly shot, low-lit world of |
| 30 | domesticity. The domestic here is curiously |
| 31 | shut off from the world outside, emphasising |
| 32 | instead its effort to suture female sexuality and |
| 33 | woman’s economic independence into a |
| 34 | traditionalising narrative about the ‘new’ |
| 35 | woman in the context of a consumerist middleclass. |
| 36 | It also had a successful musical score. |
| 37 | |
| 38 | [[Film]] |