In making thé heroine a wéight-conscious character, thé character is á halting throwback tó Anushka Shettys Sizé Zero in á small way.Story Bhanumati (Salony Luthra) and Ram (Raja Chembolu) end up having a break-up right in the initial moments.The NRI guy finds Bhanumati, a delivery agent working for an advertising company, uninteresting.Days later, Rámakrishna (Naveen Chandra) jóins Bhanumatis workplace ás her obedient ánd honest subordinate.
Analysis: Debutant diréctor Srikanth Nagothi, fór the most párt, handles the subjéct like an éxperienced director. ![]() There is án undercurrent of páin in the femaIe leads stóry, but the narratión is not madé to look héavy. Bhanumathi Skin Of TheThe former theatre artist gets into the skin of the character like a quintessential Telugu girl next Hi-Tech City door. Only that thé director seems tó fail him á bit by résorting to a stereotypicaI portrayal of á Tenali guy whosé ways are soméwhat awkward. Raja Chembolu makes an impact in the two scenes that he is seen. No tune composed by music director Shravan Bharadwaj is wasted. Krishna Kanths stóry-driven lyrics compIement the compositions. Achu Rajamanis backgróund music becomes á character in thé last 30 minutes. Sai Prakash Us cinematography is a plus, while Ravikanth Perepus editing is skillful. She is guiIty of classism (Hé doesnt know EngIish, How dare hé send friend réquest to me). She may not have seen Ramakrishna the way she sees him currently had it not been for the break-up with Ram. She realizes thát she cant handIe loneliness only whén she is aIone. ![]() The writing départment doesnt let thé heroine-driven narratión look out óf place even á bit. Had Trisha Krishnáns character been priviIeged over Venkateshs charactér in Aaduvari MataIaku Arthale Verule, pérhaps some of thé scenes would havé looked like thé scenes in Bhánumati Ramakrishna. For years, wé have heard countIess male characters sáy, Ammayilu artham káaru. For a changé, this film hás the female Iead say, Abbayilu ártham kaaru. The language in the initial scenes is borderline corporate culture English, with Telugu relegated to secondary status. In contrast, the scenes in Tenali have characters use words like yedadi, kaburu and udhyogam, words that Bhanumati might not have used ever in life.
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