<p>Thippajji Circle<br />Kannada (A) Direction: Aditya Chikkanna<br />Cast: Pooja Gandhi, Suresh Sharma, Bhavya, Neha Patail, Manasi, Satyajit, Srinivas Murthy, Anna<br /><br /></p>.<p>Based on B L Venu’s real life story of a devadasi, Thippajji Circle had an award-winning subject for a committed film-maker to come up with socially powerful movie on the demeaning evil practice that drove women to prostitution and exploitation. <br /><br />However, with Aditya Chikkanna that has not turned to be, and comes across as a poorly etched fare. <br /><br />Woefully snail-paced, this fictional biopic about Tippavva, driven by social system prevalent at that time, into becoming a devadasi dedicated to Yellamma Devi in keeping with Basavi tradition, turns out exploitative enterprise than engaging, eye-opening, and educative one that would kindle dialogue, initiate debate among the diaspora. <br /><br />The film lacks depth and deftness of craft needed to make it into thought-provoking film about how women become victims caught in the vortex of tradition, are exploited and driven into serving the rich and influential people of the village in the name of religious practice. <br /><br />Sadly Aditya Chikkanna adopts commercial format to lure audiences for mundane, pedestrian purpose. The use of Ukrainian dancer Anna for an item number speaks of the abject lack of seriousness with the subject, among other things where faults galore. <br /><br />The film, which gathers pace in the second half, faithfully depicts the trials and travails of Tippavva aka Thippajji, who becomes the kept woman of the local landlord. How her daughter, society at large, and those around, treat and look at her even as she seeks legitimacy and rise above, forms the fulcrum of the film. <br /><br /></p>
<p>Thippajji Circle<br />Kannada (A) Direction: Aditya Chikkanna<br />Cast: Pooja Gandhi, Suresh Sharma, Bhavya, Neha Patail, Manasi, Satyajit, Srinivas Murthy, Anna<br /><br /></p>.<p>Based on B L Venu’s real life story of a devadasi, Thippajji Circle had an award-winning subject for a committed film-maker to come up with socially powerful movie on the demeaning evil practice that drove women to prostitution and exploitation. <br /><br />However, with Aditya Chikkanna that has not turned to be, and comes across as a poorly etched fare. <br /><br />Woefully snail-paced, this fictional biopic about Tippavva, driven by social system prevalent at that time, into becoming a devadasi dedicated to Yellamma Devi in keeping with Basavi tradition, turns out exploitative enterprise than engaging, eye-opening, and educative one that would kindle dialogue, initiate debate among the diaspora. <br /><br />The film lacks depth and deftness of craft needed to make it into thought-provoking film about how women become victims caught in the vortex of tradition, are exploited and driven into serving the rich and influential people of the village in the name of religious practice. <br /><br />Sadly Aditya Chikkanna adopts commercial format to lure audiences for mundane, pedestrian purpose. The use of Ukrainian dancer Anna for an item number speaks of the abject lack of seriousness with the subject, among other things where faults galore. <br /><br />The film, which gathers pace in the second half, faithfully depicts the trials and travails of Tippavva aka Thippajji, who becomes the kept woman of the local landlord. How her daughter, society at large, and those around, treat and look at her even as she seeks legitimacy and rise above, forms the fulcrum of the film. <br /><br /></p>