What Is Good
- Comedy in Parts
- Mani Sharma BGM
What Is Bad
- Emotional Attachments
- Old-hat Screenplay
- dragged second half
- Predictable Narration
Chinna (Manchu Vishnu) lives on a theme "E chinna help chesina marichipodu" thats how he meets Chinni (Lavanya) and starts helping Chinni for helping him. "Vadiki oka nature undi danivalavadi future maripoyindi" thats how his life turns around when he wins a bet with Picheswara Rao (Vennela Kishore) and due to this bet he leaves his home town and shifts his base to Tirupati.
After 13 long years Chinna turns Venkateswara Rao completes his degree and joins as Investigative Journalist in TV 2 1/2. Where Avatar (Posani Krishna Murali) assigns him a job to reveal Minister Dilleswara Rao's Thermal Scam of 3000 acres to confirm his job in TV 2 1/2. Thats how he covers the scam with a great risk and ungoes a major accident. But Alekya (Lavanya) saves his life with every penny she has in her account. Seeing her soft corner Venkateswara Rao leaves to Hyderabad.
But Alekya already in love with Visranth (Samrat). How did Venkateswara Rao win Alekya's heart? How did Alekya react after knowing him as childhood enemy Chinna? forms the rest of the storyline.
Manchu Vishnu is perfectly cast as Venkateshwara Rao, and he is quite comfortable playing the youngster who finds his love life going topsy-turvy one fine day. He did perform dances with decent timing and grace. He carries good screen presence as well. Even after 10 years of his film career Vishnu still fails to make an impact with his dialogue delivery.
Lavanya Tripati does induce some freshness on screen and brings about a little charm with her presence. She needs to develop on her acting skills. Pankaj Tripati the actor, is back to square one after a couple of impressive performances, while Rao Ramesh leaves a mark. Ali is around in a miniscule role as well. Bhramanandam is funny in parts, but his characterization leaves lot to be desired. Lakshmi Manchu cameo placed right. Rest of the cast is average with minimum characterization.
The story of the film where protogonist tries to save his love and makes her family accept her. We already had a few films dwelling on the idea, and here it's more of a one-man army that takes on the perps.
I have always believed that a good script could do wonders in director Veeru Potla's hands, and a bad script could appear even worse. 'Doosukeltha', Potla's latest film unfortunately falls into the latter category, and ends up mostly a dookudu-less affair.
The film follows a narrative style that you had probably seen (and forgotten) in films in the early nineties. There are very few instances in the film that are true crowd pleasers. There are even fewer instances that would please a regular film lover on the lookout for some materials to chew on. The film runs for an unforgivably long time of one hundred and fifty eight minutes, and could have been much better if it were trimmed off some twenty minutes. There is nothing refreshing about the story being discussed and a shorter running time could have made 'Doosukeltha', the crisper, smarter film that it ought to have been. Casual attitude diffused throughout, and the flimsy plot soon succumbs to its lack of depth. There is no flashiness however, but that isn't speaking too much, when one is talking of a film that has no twists, shocks or surprises in store.
Coming to the comic interludes that are expected to bring in some life to the plot, they are no different from the gags that we have seen elsewhere, that reek of bawdiness. Nubbiness seldom bothers me, but monotony does. And in 'Doosukeltha', tedium rules the roost. This is a visually spectacular movie thanks to some spellbinding cinematography by Sarvesh Murari. Fights in the film are long, could have been easily cut short. Choreography of the first song is good and rest of the songs choreography is middling. Music by Mani Sharma is adequate, his background score elevates few scenes. Production values of 24 frames factory is grand.
Naresh gets such a 'Hot Chick' for his new project Allari Naresh, who was once a safe bet hero with his comic capers made in minimal budgets turning out to be commercially successful ventures, later went on to score one disaster after another, with his last few releases like Meda Meeda abbayi sinking without a trace.
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