The same ‘astral projection’ that can separate the soul from the body while we are alive. Accordingly these spirits can be introduced into dead bodies and talk to them. Rahul Sankrityan, who made the film ‘Taxiwala’ with this scientific theory, has once again gone on an experimental path. The story of the supernatural element ‘Shyam Singarai’ was introduced to the audience in the context of reincarnation.
Periodical drama stories like this should go down well with the guts in the story. The epic love story written by Satyadev Janga is well developed by Rahul Sankrityan. Nani as Vasu as the director .. Shyam Singarai as the communist ideologue is portrayed differently in two different roles. If the story of Vasu is going on in the present .. the story of Shyam is going on in the background of the 70s. The director gave a classic touch to every lover who comes in flashback. The whole movie story revolves mainly around this Shyam story. Nani is a very powerful director who plays the role of a rebel writer who fights against evil. He gave a sharp message to the society on caste system, slavery and Devadasi system.
Vasu being a director in Fastoff .. Kritishetti Love Story with Vasu feels cute. Leading a thriller element in the story .. Introducing super natural power .. Chasing the memories of Vasu reincarnation taluk, every aspect of the story continues to develop. The court scene that comes to a climax is the one that makes the right ending. Although at the end it seemed a bit too dramatic, he continued to tell the story without hesitation. He made sure that there was no impatience in the audience.
Nani looks very different in this movie. Vasu made the character very awkward. Since he is a hero from the assistant director he owns that role very well. Shyam Singarai played the role of a rebel. The second half started with a scene. The manner in which the heroism is shown is impressive. There is a good message in that scene. The girl is not a slave to anyone .. If God is the one who wants slavery .. The scene where the heroine is freed from that slavery is highlighted as the slave system is the ongoing slavery in the pursuit of God.
In this movie, Sai Pallavi played a recognizable character in her career as Devadasi. The way she introduced her character is admirable. You will be surprised to see her look at the climax. Sati Anettu did it herself in classical dance. Maitree who is a Devadasi .. The way she has become rosy feels very emotional. Emotional scenes between Shyam-Rosie connect to the audience. However, it would be good to give more scope to the character of Sai Pallavi.
The ‘surge’ beauty work seemed to matter as long as Shetty. Madonna Sebastian as a lawyer in a role with scope.
A good story to unveil such a periodical movie on screen .. It is not enough to have actors. We need technicians who can show the past blindfolded .. Art Director, Costume Designer, Cinematographer .. All of these are well done in the case of this film. What it really feels like to be in Bengal in the 1970s. The inter-mahal set by Avinash .. feels realistic.
Sanu Varghese, who said that he can visually introduce the characters in the film Jersey, once again showed his camera work in the film. Brought a special look to the movie with a different tint. 1970s background shown with his camera work.
Along with the Mickey J Meyer songs .. the background music is good .. especially the song ‘Sirivennela’ written by Sitaramashastri was highlighted. The story of the movie appears in the song itself. Shyam Singarai’s title song is well composed. Venkat Boinapalli .. Despite being the new producer under the new banner, nowhere in the production values is compromised. Dealing with a budget of Rs 60 crore is an adventure.
Finally .. a film that has dried up untouchability, slavery and caste discrimination. Shyam Singarai says that a woman is not a slave to anyone. But dissatisfaction is inevitable if you go with huge expectations.
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