What Is Good
- Hero Characterization in the first
- Sonarika Oomph factor
- Sagar Mahathi Music
- Few action shots
What Is Bad
- Routine Story
- Old-hat Script
- Snail Paced Second Half
- Weak CLimax
- Forced COmedy
- Commecial elements
The film is about how Happy-go-lucky small town boy guy rises up the challenge of prestige. The story centers on Krishna (Naga Shaurya) and Sathi (Satya) who challenge to return to their home town after they earn Rs. 1 Crore. Post reaching Hyderabad, Krishna comes across a pamphlet and decides that they should take up this loan recovery agent job. That’s when Krishna with his street smart thinking tries to recover amount from the local don Srisailam associates. Impressed with his work Minister Jagadeswar Naidu’s right hand (Kota Srinivasa Rao) Srisailam keeps him in work. Using his name, Krishna recovers every pending 2 crores loans. At the meantime, Krishna falls head over heels on Parvathi (Sonarika) and decides to make a lifelong commitment to her. Just when he thinks he has sorted out everything, he gets to know that a gangster Srisailam has started a 2000cr Hawala business on his name. He has to now face unbound challenges to get back to his normal life. What happens from there forms the rest of the story.
Naga Shaurya, who played soft roles in Oohalu Gusagusalade, Dikkulu Chuddaku Ramayya and Lakshmi Ravve Maa Intiki, appears to be comfortable with massy roles also. But that really didn’t work much. His lean look and weak histrionics is a big drawback to create the right strike. He is fine in romantic scenes and few comedy sequences. But coming to masala stuff, he lacks the punch. Debutante Sonarika Bhadoria with her innate charm, makes a better impression here. Even with limited histrionic abilities, the young heroine manages to come out good. Coming antagonists Ajay and Zakhir Hussain did their bit as required. Sapthagiri tries to entertain but fails. Kota Srinivasa Rao, Ravi Kale and Ashish Vidyarthi are good in their limited characters. Satya, Ramesh, Srinivas Reddy and Prudhvi’s tracks brought few laughs. The others didn’t have much scope.
The writer Madhusudhan has come up with an aught storyline. It’s amazing how those, who created this ludicrous plot convinced other to be part of this film. The whole story looks tad too superannuated with a rather sappy script, piteous narration and as usual clichéd scenes. Writer and director Yogesh has in general made a potpourri of some highly forgettable Telugu films that belongs to this same genre, from the past. The main problem here is that it is perhaps difficult to explain how silly the main point is. A song pops out every now and then, which is almost always dream sequence. The story takes a new turn every other moment, and giving the feeling that it could have been developed mainly at shooting spots. Most of the scenes are not linked up and suddenly bumps out of nowhere. We get our doubts cleared in the second half, but that doesn’t quash the pain we have gone through until then. Climax of the movie is awful at best. In clear case, Yogesh attempts every trick in the Tollywood book to make a massy commercial entertainer but all that fall flat.
The dialogues by Madhusudhan are good in parts. Hero elevation lines deserves a special applause. Music by Mani Sharma’s son Sagar Mahathi is fine. His background score suited the mood of the film. Cinematography by Sriram is neat. His work is pretty rich in the songs. Fights choreographed by Venkat are adequate. Editing by MR Varma could have been crispier. He could have easily trimmed down the second half by 15 odd minutes. Production Values of VVSN Prasad are grand.
There should be some sort of an argumentation to decide who should be darned for making films like these. It may bring some gains for its producer, with the satellite rights and other rights. But the harm that such films do is to ablactate away even the remaining part of audience who go to the theaters to watch films. All in all, if you expect a decent entertainer from Naga Shaurya this time, just stay away from this nonsense.
This brings back to a question, why blame the audience if they prefer Hollywood dubbing, Mollywood or Bollywood films, to these craps?
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