Director Bhaskar, who unveiled the delicate relationship of a father-and-son with his debut film Bommarillu, has this time touched upon the even more delicate one – the relationship between a father and his daughter. He brings alive on the screen, the love of father for daughters. A serious look into the storyline and the dialogues, one would definitely have a resemblance to the recent episode of Megastar Chiranjeevi’s daughter Sreeja. Bhaskar wants to make things clear: To be in love is not a crime, but elopement and ditching parents is unpardonable. With the subject more or less nearer to their family affair, it seems Allu Arjun donned the role of the hero with élan.
Neelakanta is an influential person in a village with some girt and henchmen. His elder daughter Subbalakshmi (Poonam Bajwa) makes an elopement with her lover Errababu. Shocked and humiliated, Neelakanta launches a hectic search for her. The friends of the lover are taken into the custody of Neelakanta’s henchmen. Prominent among those who help the couple elope is Krishna (Allu Arjun), a jolly going youth from Hyderabad. Holed up in the outhouse of Neelakanta’s bungalow, he falls in love with a beautiful girl Maha(Sheela). He soon realizes that the girl is the younger daughter of Neelakanta. What happened later? Whether the younger daughter has followed suit with her sister or respected the alliance of her dad’s choice? It forms the crux of the story.
Allu Arjun performed his role as Krishna with superb ease. This fun and frolic attached to his characterization seems to be an extension of his previous film Happy. Prakash Raj has come out with great acting, drawing waves of sympathy from the audiences. Heroine Sheela is deglamorised all through. There is a unanimous feel that the heroine couldn’t bring to the fore the required elements of histrionics for her prescribed role. In her characterization as elder sister, Poonam Bajwa is passable. Sunil could evoke some laughter, while Subbaraju’s character is adequate.
Director Bhaskar not only donned the responsibility of captaincy, but he further loaded himself with the additional duties of story and screenplay. The story instead of dealing the delicate relationship between a father and daughter has turned into a raw deal. The same is treated in a cruder form. For all the lacunae, Bhaskar should bear the entire responsibility.
While the first half has some respite, the second half turned out and out a boring fare. Mani Sharma couldn’t enliven the mood in the theatre. The music sounded quite ordinary, while the background score too is not in tune with the film. However, cinematography and production values are of high standards. Dialogues are average to good in parts.