a film of awful casting.
Sri Rama coming back to Ayodhya after his 14 year vanavasam, his return to the throne and the circumstances that drive him to send his beloved to forests again (Uttara Kanda of Ramayanam).
The opening title sequence with nothing but Bapu’s pictures is the only thing to not complain about. Sequence ends and the bad visual effects of the Pushpaka Vimanam hit you in the face. The song that follows, the substandard sets, the extras staring at the camera, intolerable actors (child actors particularly)…in all, the film carries a cheap sense of aesthetics. And this coming from a director of such stature is a clear signal marking the end of his celluloid days.
Good on paper
If you can think back to what this film looks like on paper, you would probably forgive it. Most of the scenes have a very Bapu way of dealing with the epic characters. But, the gaudy visuals and the actors to further wreck it up, you wouldn’t probably be at your forgiving best.
When was the last time you’ve seen Bala Krishna on screen and were able to forget (at least for one second) that he’s Bala Krishna pulling off another atrocious stunt we’ve come to accept as acting. Just gets worse in this one.
In the midst of all the uncomfortable, over acting, over reacting and under acheived actors, Nayanatara managed to seem better than the rest.
If leaving the theater never crosses your mind somewhere within the 3 hour running time, you are probably one of those who don’t mind staring at the screen irrespective of what’s happening up there. Or you cannot pull your vehicle out until the show ends.
Reviewed by Rohit
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