When I heard
the songs of Yendukante Premanta, I wanted to see the movie for one song- Nee
Choopule. I learned later that it was a source of huge relief to see it in the
initial frames itself. Job done, I sat through the movie and couldn’t find a
single thing I would remember after two days, bar the song
The initial
scenes set the tone for the narrative. A narrative that refuses to move, and be
linear. Karunakaran has a set pattern for his narrative. A motherless heroine,
good in character, focussed, and morally on a higher plane. The goalless hero,
whose life takes a turn after he meets the heroine and pining with unrequited
love. And before we forget, the hero has a strict father (not in darling) who
is made to look comical
So the story
has nothing new to offer, but for a twist(!) in the tale. The twist here is,
that everything is going to be good at the end and that’s announced about fifty
minutes into the movie. Well, it is that sort of a movie. Every movie,
especially the bad one’s, has a redeeming factor. That it is a song for Yendukante
Premanta, is something that is hard to digest.
With nothing
to offer, the movie stretches to 156 minutes. Not that it could’ve been any
better if swathes of the movie weren’t there. Sometimes the viewer feels what difference
a location can make to a movie. We needn’t jog back our memory a lot. Rewind to
2010, and we have the example of Orange. Orange
could’ve been based in any of the cities in the world but the director insisted
that it had to be based in Sydney as the protagonist was a graffiti artist. Add
Yendukante
Premanta to that list now. It could’ve been based anywhere but the
director and producers are intent in passing off Switzerland as France (Paris
with Switzerland flags. That must be a first). Before anybody can point
fingers, there is a song that’s shot in Paris. The point here isn’t about the
places. It is about the escalating costs. Yes, it is the home production for
the hero, but it still doesn’t justify it
o
Ram
What made
Ram sign on the dotted line? The non-existent storyline? The irrational
concept? He is coming off a hit movie (Kandireega) and might justify the choice
by saying it’s a ‘different’ film. Sorry to say, it ain’t. One good thing about
his movies is the absence of vulgar content. Endukante Premanta, too joins the
list. He has the skills and they can be put to very good use. Jagadam stands as
a showcase for a director willing to bring the best out of this actor. He is
slowly slipping into the Tarun mode and if he doesn’t take care, it might slip
further in the same direction. He has developed a lot in the looks department
though and looks set to play romantic roles, if he is willing
o
Tammana
It’s a
pleasure to see Tammana, without the excessive skin show that we have grown
accustomed too. Her pairing with Ram, looks fresh and energetic. It’s a pity
that the script lets them down. Her deglamourized role in the initial minutes
might go down well with her fans. She will be certainly considered a golden
goose if the movie hits the bull’s eye at the box-office. If it doesn’t, she
has an impressive set of movies lined up.
o
Karunakaran
The time has
come for him to change tracks. For a discerning viewer, his movies are all the
same. If he delivers duds with such talent at his disposal, then he will
himself to blame for the future that awaits him. Ram and Tammana’s dancing
skills are something that he should have utilised to the hilt, but he insists
on making predictable, feel-good movies.
The only
thing about the movie which is out of bounds for the complaints is
cinematography. The cinematographer embellishes every frame in the movie. If
only the movie had a good storyline
I put myself
through the wringer by choosing this movie over Shanghai, and am repenting
every bit. The only solace though, is the fact the tickets will be cheaper on a
Monday morning show for Shanghai. The wait for the next good movie, unfortunately,
continues…
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