| Rating: 3.5/5 |
IntroductionSS Rajamouli is clearly heading towards scoring a double hat-trick withYamadonga. This much awaited film is released to a hilarious hit talk all over the state, thanks to the new look of NTR and enigmatic performance of Mohan Babu. The onscreen magic of MM Keeravani andwell-done quality of visual effects are major plus points to take themovie into all nooks and corners. This film is a thorough entertainer with high temptations and rightful fulfillment.
Orphaned Raja is a ruthless robber. The influential people resort tohis assistance in executing certain things whenever their efforts fail. He always dreams of earning fast bucks so that he could settle in life once for all.
In search of realizing his goal, he stumbles on a fine opportunity. A ravishing beauty Mahi (Priyamani), who is the sole rights holder of a massive zamindari property running into crores of rupees, falls in love with him. The same girl happens to be his childhood well-wisher, who in turn would consider the boy as her prince. He gets ready to surrender the girl to the people who wants to kill her for her riches. But, the gang cheats him and kills him. Raja reaches the Yamaloka. There, he comes to know that he is killed at a very prime age. He snatches the Yamapas of Yama (Mohan Babu) and almost dethrones him. After regaining the power, the Yama sends him away, but to take away his life once again. For this purpose, he arrives on the earth. But, he is moved at the honesty of Raja in facing death, but dare it at the same time – to save the life his love
NTR looks stylishly slender, charged with high voltage power in histrionics in all departments, be it emotions, sentiment, love, action or dance. Though he gives a kind of odd impression in the opening scenes, he slowly justifies his characterization. Definitely, he awaits the much-required break in his sagging career. Mohan Babu, who performed in Annamayya a decade ago, once again appears in this banner alien to
him. His performance as Yama almost stupefies the audience to high perfection in the annals of mass entertainment. For the first time, our Telugu screen Yama gets into romancing. His punch-filled dialogue delivery retains his position as a star performer. Director Rajamouli deserves kudos for the moulding of Yama to fit the taste of contemporary audience. The audience will sure appreciate Rajamouli for his diehard selection of Mohan Babu only for this characterization.Mamata Mohandas appears for a short while in
the first half, giving an impression that her role is almost done away with. But, she resurfaces in the second half to give excellent performance as Yama in the disguise of a lady. She is given full scope to prove her multiple talents. Priyamani rendered good performance as a victimized heiress to a prominent zamindari lineage. Both the girls gave fine entertainment by way of their dances and performance. Brahmanandam played the role of Chitragupta to hilarious levels. After the massive hit of Dhee, he once again dominates the comedy scenes and contributes his might in enlivening each and every frame whichever has scope for his appearance. Rajiv Kanakala received high publicity for his Indra’s role. However, the role is rolled off within a minute in the very beginning of the film.Ali played the hero’s friend. MS Narayana’s role is memorable. Jayaprakash Reddy played the villain, who wants to knock away the zamindar’s riches. Siva Parvathi acted the role of mother-in-law to thezamindar’s heiress.
There is a pack of heroines as item girls, including Rambha, Preeti Zhingyani, Veda and Madhu Shalini. Kushboo appears as Yama’s wife. Initially, the audience might think of Kushboo as a non-match for Mohan Babu, but the climax shows that Rajamouli is right in his selection.
Narendra Jha who appears as baddie in the climax contributes to the villainy factor.
Rajamouli’s concept of Yamalok is done with superb imagination. Despite doing a socio-fantasy film, he succeeded in stuffing it with commercial elements in tune with the pulse of the audience. Screenplay is interesting. However, this drags for a few minutes after a few scenes in the second half. The climax again turns gripping. Dialogues are average to good. But for a couple of lengthy dialogues, this portion is treated in regular fashion
This same element helped in treating the socio-fantasy in contemporary diction. Mohan Babu’s mannerism Bambola Jambha makes a catchy word. There is one dialogue which has maximum punch – ” Nyayaniki Anyayaniki, Dharmaniki Adharmaniki madhya jarige yuddamlo, goda meedha pillila unde vanni sala sala kaage noonelo veyyali.” There is another lengthy dialogue in which NTR is made to render it perfectly on the lines of the one of NTR as Duryodhana in Dana Veera Sura Karna.Comedy is the central vein in the movie. The department is treated with caution thereby making the audience glue to their seats. Whenever there is a feel that the movie is lagging behind, the lighter vein is revived much to the relief. The songs sound better on the screen rather than as the audio. The songs are well picturised. Of course, a couple of songs come as stumbling blocks both in the first an second halves. Altogether, Keeravani’s music has brought the grandeur to the film.
Special effects are richly done. The agonized soul of NTR sitting besides the body is a good visual. Similarly, the chase of Yamapasam after NTR and his slipping into a ravine are executed with skill. Yamalok set is a major attraction in the film. Ever since the launch of the movie, the set became a hot topic in the industry. Rajamouli deserves the praise for making such a terrific set, considered Asia’s biggest ever. Cinematography is good. Production Values are outstanding.
The movie is opened to a hit talk. Complete absence of vulgarity and
commercial values is a big plus points to the film.
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