![]() ![]() In films like these where men didn’t have to bear the burden of a rather performative brand of “macho” masculinity, the reciprocal quality of roles written for women improved. Venkatesh’s Nuvvu Naku Nacchav, Vasu, and Mallishwari Chiranjeevi’s Shankar Dada MBBS (which is the best ever Munna Bhai spinoff and performance, in my opinion) and Nagarjuna’s Manmadhudu remain etched as evergreen classics. Even the “big heroes” of that time like Nagarjuna, Venkatesh and Chiranjeevi essayed roles of non- macho men- the kind who could even be outright stupid and unmotivated. ![]() The box office record of these films stood testimony to how the audience embraced this relatable brand of heroism. These men were not physically “macho”, and dare I say, were even powerless- whether it was Uday Kiran in Manasantha Nuvve, Nithiin in Jayam, or even Tarun in Nuvve Kavali. It was when the “boy next door” hero image was thriving, with the likes of Uday Kiran and Tarun essaying roles that were close to their age. Sekhar Kammula’s Anand arrived at a time when gender dynamics in Telugu cinema were undergoing an interesting flux. ![]()
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