In general, for a film, there exist a director (who directs) behind the screen and an audience (who watches) in front of the screen. But for some films, even the audience who “watches” also becomes the director. Among the directors who give the audience a privilege to direct a film from before the screen, “V.V.Vinayak” stands at the first position. This star director who is capable of directing a film irrespective of proper story and screenplay (sometimes direction too) came up with “Akhil” introducing the star kid “Akkineni Akhil”. Veteran actor Dilip Kumar’s granddaughter “Sayesha Saigal” is the female lead while noted actor “Nithiin” is the producer.
To save the globe, there lies a sphere in an African tribe named “Jua”. One day it gets lost due to an attack by Russian Mafia who wants to get hold of this. Besides this, Akhil (Akkineni Akhil) who leads his life as a street fighter in Hyderabad falls in love with Divya (Sayesh Saigal). The rest story deals with how Akhil wins Divya’s heart and what’s the relation of Akhil with the lost “Jua”.
Let’s talk about the story written by “Veligonda Sreenivas”. I don’t know how much he struggled to pen a story resembling our childhood “Chandamama Kathalu” yet this story isn’t capable of a 1/10th part of those.
Coming to narration, an audience can imagine perfectly how this 130 minutes film is going to be, in the first five minutes. The whole industry and media claim that Vinayak always reaches the audiences’ expectations. Yes, it’s true. In his movies’ perspective, reaching audience’s expectations means making him a director too. He can clearly say where a song is placed, where a fight comes and where comes the intermission. A clear example for these things is the first half.
Though the film is of 130 minutes, it was felt very long due to routine and weak narration. But there lies something which gave strength to the audience. It’s the entry of “Akkineni Nagarjuna” in “Akkineni” song. The way he appeared on the screen and his dance for “Hello Brother” song was an eye feast. If there’s something that goes beyond a normal audience’s vision, it’s Nagarjuna. Later Vinayak satisfied the ego of audience and ended the film as he wished.
Regarding other aspects, “Padesaave” song looked beautiful on screen with its scenic locations and beautiful photography for which “Amol Rathod” should be appreciated.
Coming to performances, Akhil failed to impress. As all the cast are older than him, he failed to dominate them but attractive in dances. He can be exclaimed as the best dancer of Akkineni family. Sayesha became the regular commercial film’s heroine, used only for songs yet she danced well and got a good rhythm in her body. Seniors like Rajendra Prasad and Mahesh Manjrekar couldn’t support much. Vinayak’s only strength Brahmanandam also failed to entertain this time. Vennela Kishore and Saptagiri tried a bit but in vain.
- Amol Rathod’s Cinematography. For these kinds of “Intercontinental” stories, a good photography is everything. Amol worked hard and succeeded in offering it.
- Production Values. Though there is a weak content, producers Nithiin and Sudhakar Reddy didn’t compromise in spending more money for Akkineni heir‘s film.
- Akkineni Nagarjuna’s Cameo. His handsome screen presence proved once again that age cannot wither him.
- Veligonda Sreenivas’s Story. With this film, it can be exclaimed that no one can beat Sreenivas in providing routine and uninteresting story lines.
- Vinayak’s Screenplay & Direction. This star director strongly conveyed that he’s got no change.
- Unattractive Heirs. Both Akhil and Sayesha failed to impress with their much hyped debut film.
- Kona Venkat’s dialogues. Kona concentrated on rhyming rather than entertaining dialogues.
- Anup and Thaman’s Music. Akhil had unimpressive music by two noted music directors.
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