If Reddeppa (Milind Gunaji) mixes business, politics and crime, Krish Jagarlamudi mixes theater drama, dance and a little of anger and angst in ‘Krishnam Vande Jagadgurum’. The trailers deluded us into thinking that we’re set for an aggregate of ‘Aakali Rajyam’ type of frustration and ‘Osey Ramulamma’ type of rebellion. It works out that ‘Krishnam Vande Jagadgurum’ is much more a measured tribute to Surabhi (a theater form) as opposed to a enticing undertakes a crony capitalist regime that defrauds the country and beefs in the coffers of bandicoots.
It’s an irony that although Krish is really a cerebral individual in tangible existence, his heroes are almost always self-centered and who always need to be awakened through the heroine’s prose or another person’s poetic words. It wouldn’t matter much inside a film like ‘Gamyam’, when the male lead is simply another cynic who’s guiltless about his lowly preoccupations. A canvas like ‘KVJ’ needs a hero who has a mind of their own, instead of finish up seeming as an accidental hero.
Within the fantastic realm of Bellary, Reddeppa, a well known amasser of 1 lakh crore, is silly enough to go in the battleground, waiting to slug it with whoever really wants to dare him. Sometimes, he’s sans his guards and customary sense. As though one particular unthinking character isn’t enough, there’s Devika, who breaks into dances together with her guy in the drop of the hat. The reality is that ‘KVJ’s script is really a indication of run-of-the-mill villainy, sadism and fun, never to forget the oldish aspects of revenge from the killer of parents.
Devika (Nayanathara) adds spice together with her voluptuous looks, so that as she leers away in the handsome hunk, one really wants to request, “who’s more rapacious – Reddeppa or Devika?” For N Narayana Murthy-like daring, there’s none. Indeed, Krish shows chutzpah – by getting an audio lesson for Reddeppa!
Full of vibrant romance within the tunes (which in some way don’t excite), filled at a multitude of locations without-so-interesting comedy, ‘KVJ’ is fortunately elevated by a few superb lines, Mani Sharma’s nimble background score, Rana’s intensity in emotional and action sequences and 2 twists that improve the entertainment quotient. With no theater moments, that are exalting and dexterous, ‘KVJ’ could have been simply old wine within an old bottle. The Surabhi element improves the narrative is really a bonus!
B Tech Babu (Rana) really wants to abandon his legacy, settle lower for operate in America and produce in dollars. As future might say, he eventually ends up moving to Bellary to do within the grand Navratri number of sequences according to the final wish of his grandfather. Because he begins his work there within the lawless world, he accidentally eventually ends up securing horns with Reddeppa’s thugs on one side and alternatively, bumps into Nayanathara, the bold and idealistic documentary-maker, who would like to identify the unknown past and illegal activities of Reddeppa.
How his encounter with Devika, the only conscience-keeper within this country of “450 news channels”, transforms Rana’s thinking and therefore truncates the villain’s existence, forms the relaxation from the story.
‘KVJ’s strength is based on its being artistic and angsty, although in odds and ends. The chaste Telugu is amazing, brightened up by Rana’s impeccable dialogue delivery. Kota’s idealism, Devika’s inner personality, LB Sriram’s ‘insane’ devotion for earth, and also the bonhomie one of the Surabhi group people – all of them work fine.
The dialogues (by Burra Sai Madhav) are its greatest resource, though they aren’t consistently superb. “Koneru talli astikalane matti lo kalipesaru”, is a dialogue. ‘Thindi lekapoyina parva ledu, mattini adigithe pettuddi. Matte lekapothe?” is yet another. The scene within the police station works fine.
‘KVJ’s weakness is based on its being not substantial. For many part, it keeps us wondering which character is going to be caught hold through which character within the endless cat and mouse chase. One feels the interlacing from the theater moments must have been more thrilling, nuanced and simple – the type of refreshing juxtaposition (between film and reality) that people saw in ‘Rang P Basanti’.
Rana looks fit for that role for much part. There’s a sparkle on his face that’s not welcome here. He looks energetic and overpowering in most the experience sequences, that are well-choreographed. Nayanthara is gorgeous but talk’s just one good sentence. She dubs for herself and works inside it.
Milind Gunaji because the primary villain and also the couple of comics (read Raghu Babu, Brahmi, Posani, Sathyam Rajesh) are great. One takes note of nothing about Murali Sharma except his dubbing.