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Courtsey: idle brain

Banner: Karthikeya Creations


Cast: Tarun, Genelia, Ahuti Prasad, Paruchuri Gopala Krishna, Subbaraju,
Raghubabu, MS Narayana, Suthivelu, Sivaji Raja, Abhi, Giri, Surekha Vani,
Tulasi, Geeta Singh
Music: Mani Sharma
Lyrics: Sirivennela & Anant Sreeram
Cinematography: Bhaskar Samala
Editing: Shankar
Art: Satyanarayan
Dialogues: Nagaraju
Story - screenplay - direction: Krishna Vamsi
Producer: Sunkara Madhu Murali
Release date: 1 January 2009
Review
Story

Sasirekha (Genelia) is summoned by her strict father


(Ahuti Prasad) to return home. After coming home she
realizes that her marriage is fixed with an NRI and her
wedding is due that night. She also learns that the
groom’s father is money-minded. She has no choice left
but to run away. She meets Anand (Tarun) on her journey. He protects her
and helps her. The rest of the story is all about the background of Anand
and what happens between the couple.
Artists Performance
Genelia: You would see an entirely different Genelia in
this film. She did not wear any make-up. She is
completely child-like and playfully innocent. It appears
like she dubbed her own voice in certain scenes of the
film. Her hysterical performance when she is slapped
shows another shade of her. And her performance in the scene in which
she banters after getting drunk is very good. She gave wide variety of
expressions in this film.
Others: Tarun plays the second fiddle. But his
performance in the hospital scene in the climax is
ultimate. Ahuti Prasad scores again in this film. But his
usage of expletives at end his dialogue is little
discomforting to ears. Subbaraju dons a refreshing (away from his usual
roles) role in this film. He is excellent. Paruchuri Gopala Krishna is
extremely good as the villainous elder. Abhi did a significant role. Monali
Chowdary is good in a cameo. MS Narayana is excellent in the tax-payers
episode. Vamsi (Paiditalli from Happy Days) has a small, but interesting
role.
Technical departments
Story - screenplay - direction: Story of the film has
nothing to do with Jab We Met film but for a couple of
slight references (heroine mouthing abuses on phone
and the beginning notes of Edo song). The story of the
film is simple. Hence it is very difficult to write
screenplay. There is only one screenplay knot that is opened in the interval.
The entire second half is about how heroine falls in love with the hero.
Hence there is no conflict point in the second half as audiences are well
aware by then that heroine’s parents are not going to catch her. Though the
initial half an hour after the interval bores you, the director turns it around
with well conceived scenes towards the end of the film. The most hilarious
scene in the film belongs to MS Narayana where he explains how
drunkards are helping the Government. There are two defining moments in
the second half –
1. Genelia’s banter after getting drunk: The way heroine questions the
man’s attitude and explains the depth of women’s heart showcases the
director’s deep understanding of women. The movie turns around from this
moment.
2. Lead pair getting caught in an imbroglio: An unexpected scene from an
unknown angle changes the complexion of the film and provides a lead to
the climax.
The following episodes in the film are unappealing
1. The lorry driver rape attempt followed by hero saving heroine.
2. The court and jail episode.
Other departments: Music of the film is alright. The best
song on the screen is ‘Edo’ that comes before the
climax. Nice rendition by Saindhavi helps the mood of
the situation. Dialogues are nice. Krishna Vamsi seems
to be allocating a few minutes of his film’s runtime to
eulogize certain things in his recent films. If he had lengthy dialogues about
railways and Indian traditions in Rakhi and Chandamama respectively, he
tells some good things about Vijayawada (only after belittling it).
Cinematography is adequate. The producer should have taken more care
in the postproduction (especially DI) which would have enhanced the visual
appeal of the film.
Analysis: The title cards sequence (involving visuals of
Maya Bazaar song Aha Na Pellanta’) is very good. The
first half of the film is adequate. The initial half of the
second half is boring (a common problem with journey
flicks if they do not have conflict point). The director
makes it up in the last half an hour. The positive points are Genelia and last
half an hour. On the flipside, there is no conflict point (that creates dramatic
impact) in the second half. This film has elements that can go well with
class audiences and women. We have to wait and see how it fares at

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