There are some film makers whom you always watch out for. “Gautham Vasudev Menon” is definitely one among them because of his sensible works like “Surya son of Krishnan”, “Ye Maya Chesave”. Naga Chaitanya collaborated with him once again after “Ye Maya Chesave” for the film “Saahasam Swaasaga Saagipo””. Introducing Manjima Mohan as the female lead, this film is produced by “Miryala Ravinder Reddy” under his “Dwaraka Creations” production house.
A guy (Naga Chaitanya) who is not so serious about his life falls for his sister’s friend Leela (Manjima). They both go on a road trip to Kanyakumari on his “Royal Enfield”. A sudden incident that happens in that journey changes the ideology and life of the guy completely. What’s that incident and how it changed his life form the rest.
Narration – Analysis :
In general, if you narrate an incident of our past, you can just narrate the scenes in which you are present. But in the films, if a character starts narrating the past, it narrates the scenes in which it is not even present. A good example is the film “Manmadhudu” I can remember now, where Tanikella Bharani narrates the past life of Nagarjuna. He even narrates the exclusive scenes that happened between Nagarjuna and Anshu. Director Gautham Menon mostly ensures that his script contains no such scenes. Take “Ye Maya Chesave” for instance. It starts with Karthik narrating his past. You find no scene in that past where Karthik is absent. Menon did the same in this film too. Though these kinds of things are not noticeable to an ordinary audience, they are needed for the upcoming writers and directors.
As it said, like how Rahman’s song goes deeper into your hearts by listening to it repeatedly, audience sticks to it gradually as he goes on watching it. All the five songs of the album were placed in the first half out of which the first four has right situations. The order of the songs on screen is exactly the same as the order in which they come in the music album. “Chakori” song visualisation was scenic with a good cinematography. One song which became the chart buster appears to have no right situation in the narration but its placement was so impressive and innovative that no such experiment was done like this before. Such things coming from a sensible director like Menon was much impressive. It’s the song “Vellipomake” which became the best song even on the screen, with this astonishingly creative placement. Menon should be appreciated for it and it’s another lesson for upcoming writers.
Mixing two different genres in the same film is another rare thing that happens in Indian cinema. The way Menon started the film as a love story and changed it to a thriller was quite impressive. The way he tried to take his audience completely into his world was very good as usual.
Yes, there is something in this film that lets you relax in the auditorium. It’s the climax sequence. Menon starts shooting his film as soon as he scripts 70% of his screenplay. He scripts the climax sequence while the shoot is going on hence his films’ climax sequences appear clumsy most of the times. This film is another victim of such trail. Narration appears forced as it reaches its end. He should have ended the film without revealing anything which also justifies his main theme that “life is unpredictable“. As it’s a film, everything should be predictable hence climax revealed all secrets.
On the whole, this film is a different attempt from sensible Menon. It can be watched for the way he made his audience travel between a love story and a thriller and the importance he gave for the music in his plot.
There lies something which is hidden till pre-climax of the film. Go and know it on the screen.
Naga Chaitanya is the heart of this film. He delivered a super matured performance and it’s good to watch him excelling himself from film to film. He gave good expressions in the song “Vellipomake”. Manjima acted well yet it’s disappointing that she is not a “Gautham Menon’s heroine” in this film. Rakendu Mouli, son of senior writer Vennelakanti got a noticeable role. Rest like Satish Krishnan, Daniel Balaji and Baba Sehgal were good.
- Narration. Menon proved once again that he can blend life in cinema.
- Rahman’s Music. Songs composed by master turned more lovely on screen and he supported the film very well with his background score.
- Dan Macarthur and Dani Raymond’s Cinematography. These two persons excelled as cinematography is crucial for love stories and thriller films. The first fight sequence of the film was shot so well in the lighting of a car’s headlamps.
- Rajeevan’s Art Direction. Art direction sets the mood for romance and thriller genres and Rajeevan did an appreciable job.
- Chaitanya’s Performance. So matured.
- Vellipomake Song. Go and watch the film to know it.
- Forced climax sequence.
– Yashwanth Aluru
Click here for Telugu version of this Review…