A convoluted concoction of contrived circumstances.
One more attempt to preach that teenage love is the unmistakable panacea for middle-age faction vengeance. The Tollywood fascination for faction-ridden film stories is becoming a disgusting distraction.
Viyyalavari Kayyalu is one of those routine formula films with the now familiar mass masala recipe of one tag line, two faction leaders, three teasing incidents, four comic characters, five fights, six songs, seven sentimental scenes, eight double entendre dialogues, nine supposed to be comedy bits and ten minutes of climax stunts.
Viyyalavari Kayyalu opens with a patronising sermon by Krishna.
Then the story starts with Vamsi(Uday Kiran), a hair stylist by occupation, saving Nadini(Neha Julka) from a bunch of teasing street rowdies. Now, the heroine is after the reluctant hero and makes him to agree to marry her. After another sermon against elopement, Nandini invites Vamsi to come to her native village and convince her family members.
After being insulted and threatened, Vamsi gets the nod of Nadini’s brother Bhupathi Rayudu(Srihari), whom the hero saves from a bomb attack by rival faction leader( Jayaprakash Reddy). Now, the scene shifts to Hyderabad, where Bhupathi has to convince Vamsi’s father (Shayaji Shinde), a former judge, who insists that Bhupathi should win the election without weapons and violence. The rest of the story deals with the sacrifices made by Bhoopathi to get his sister married to Vamsi.
Uday Kiran, starting his second screen innings, is passable. His character has no scope for exhibiting any emoting skills. Neha Julka should understand that acting is totally different from just making faces.
Srihari, increasingly becoming popular as the angry middle-aged man, gives a good performance with his customary finesse. Jayaprakash Reddy and Shayaji Shinde performed in their now familiar styles within the limitations of their characters.
The less said about the comedians, the better. The supporting characters have nothing much to do, except being part of the props.
The story is a convoluted concoction of contrived circumstances. The conception of incidents is in poor taste. The director seemed to think that screenplay is nothing but just putting together one scene after another.
The characterisation is disastrously self-contradictory. There was absolutely no effort to create the appropriate mood for the pivotal scenes. The comedy is disgustingly nauseating.
Cinematography by Ajayan Vincent is good. Marthand K. Venkatesh did his usual efficient editing. Ram-Laxman orchestrated the stunts with their reputed effectiveness. Ramana Gogula’s compositions are slightly above average, except the song Neelala Nee Kallu…Na Premaku Sankellu, which is very good. Audiography leaves much to be desired.
Dialogues, with double entendre, borders on the fringe of vulgarity. Most of the dialogues are sermonising or slogan-mongering, but out of sync with the characterisation of the main roles. Choreography appears as a half-hearted attempt to merely go through the motions.
If you have a choice, exercise it wilfully to avoid watching this film, unless you want to have a glimpse of Uday Kiran. He still wears the chocolate-faced-boy-next-door look. Viyyalavari Kayyalu leaves a sour taste of profound regret.