There are movies which dazzle you
with their visual brilliance and there are movies which disturb you or make you
cry. Some make you think and some make you wish you never bought that ticket.
Some movies shake you and some numb you. Attarintiki
Daredi borders on most of the above and makes you happy and walk out with a
smile. The movie became the most sought after one owing to the crackling
combination of ‘Power Star’ Pawan Kalyan and Trivikram. The director proves his
hallmark style of film-making by embedding a simple story in multiple layers of
entertainment. His creative treatment for a stereotypical story-line gives the
movie a master-stroke that surfaces its comic and emotional core.
Trivikam and his Hollywood
hangover are packed so tightly that he can’t live with it. The way
Pawan cooks a story from the objects lying around reminds you of the film The Usual Suspects. And, hold your breath, the Gyaana 'Abaddam chepithe chasthaavu' Vruksham episode from Eddie Murphy starrer A Thousand Words is by far the greatest rip-off of all time. But that doesn't stop you from singing encomiums for Trivikram. Within the first few
minutes of the film, you can tell this product exudes class. The dialogues, the
locations, the scene compositions, the pace, the pauses and the precision of
editing – everything builds the stage for the coming events in the film.
The premise may be old as mountains. The second half drags a little and slips into some loopholes. And when the hero's conflict is internal and his job is to get his aunt back to his family, then why the introduction song Aaradugula Bullet... Bhairavudo Bhargavudo... gives a saving-the-society flavor to his character. Though the movie is replete with many such intriguing questions, Trivikram's execution makes them passable and brings the house down. The way he effortlessly plays with his
‘patented’ rewind-and-forward-button and intermittent
black & white visuals makes it inventive amid few clichés. Deva devam track has been plugged in at
right time and its rendition in the climax adds a traditional tinge to the
end-credits. And the way he cuts the sepia-toned flashback and uses it to full effect in
three scenarios leading to a 'paradigm shift' is quite interesting.
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Pawan Kalyan owns the film. He pulls
off a tailor-made role with multiple shades of an arrogant businessman, a
subdued worker, an effeminate dancer, a humorous baba, an emotional person, and
tops it with his towering machismo. He also does few Rajnikanth-ish stunts in a
well choreographed, stylish fight to grab his glasses. Samantha plays a
free-spirited gal full of life. At the start, her character is underplayed but
she gets into the groove post interval. Her appearance as a saree clad gal
in Ninnu Chudagaane is to die for.
Pranitha makes you wonder where she has been all this time. The song Bapu gari Bomma stands as an avowal for
her beauty.
The comedy buttons on the movie’s
list are ably checked by Brahmanandam, Ali, M S Narayana, Posani and the hero
himself. Brahmi’s Radiator and
Bascars make you fall from your chair and also the four act play – Ahalya Amayakuraalu. The characters of
Rao Ramesh, Nadhiya and Kota Srinivasa Rao need some fine tuning as at times
they become hollow.
Devi Sri Prasad’s music is
seductive. His background score falls on two extreme sides of the spectrum. At times his usage of strings seem to be inspired from that of 'Maestro' Ilayaraja and some times he takes the 'Western' route by re-creating Ennio Morricone. DSP also does a cameo in the film.
Prasad Murella’s cinematography knows no bounds and the introduction scene of Pawan with aerial shots, montages and vignettes, proves his mettle. The effective use of soft lighting, the way he bathes the frames with sunlight and addition of multiple hues is laudable. But the overdone CG work in couple of songs makes them look artificial.
Albeit the movie clocks a runtime of 3 hours, Prawin Pudi’s slick editing never lets boredom to seep into the narrative.
Prasad Murella’s cinematography knows no bounds and the introduction scene of Pawan with aerial shots, montages and vignettes, proves his mettle. The effective use of soft lighting, the way he bathes the frames with sunlight and addition of multiple hues is laudable. But the overdone CG work in couple of songs makes them look artificial.
Albeit the movie clocks a runtime of 3 hours, Prawin Pudi’s slick editing never lets boredom to seep into the narrative.
Attarintiki Daredi brings something to Telugu cinema that comes
rarely with so much effect. Trivikram's magical wand wards off some dull
moments in the film. He shines both as a writer and director, and on a candid note,
this time the director in him outsmarts the writer. After an endearing climax, during the end-credits, the
family is seen tasting the soup, but this scene (again with Deva devam track in the background) is like a tasty little dessert
after a hearty meal. Do yourself a favor by watching this film.
My Rating: Expectation – 8/10;
Reality – 7/10
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