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Love Story movie review: Sekhar Kammula shows a mirror, but not sans his trademark style-Entertainment News , Firstpost

I all the time stay up for a Sekhar Kammula movie as a result of he builds a greater world than the one we live in. However with Love Story, he’s in no temper to dream.

KVR Mahendra’s Dorasani has a really affecting scene the place the home assist says to the ‘dorasani’ {that a} girl, regardless of her social standing, isn’t actually free. Sekhar Kammula’s Love Story has Mounika (Sai Pallavi) who’s from a landowning dominant caste household, however she doesn’t manage to pay for to her title to recharge her cellular knowledge plan.

Though the movie makes use of this occasion to elicit humour, and to point out us the lady’s innate bias towards the working class, you see the irony. You additionally see that the filmmaker needed to stretch the movie from as many sides/angles as he can. After I watched the trailer, I feared the movie would oversimplify the problems it’s making an attempt to sort out within the lieu of universality, however I’m comfortable to report that the worst factor I can say in regards to the movie is that it’s over-ambitious. 

I all the time stay up for a Sekhar Kammula movie as a result of he builds a greater world than the one we live in. However with Love Story, he’s in no temper to dream.

He tries, to the perfect of his skill and understanding, to point out us the world as it’s. Revanth (Naga Chaitanya) is a self-made man who runs a Zumba centre, and is pleased with that truth. Mounika comes from a spot of wealth and social privilege, however she has her personal demons to combat. Like every good romance, the movie spends a considerable chunk of the display time on their relationship — the way it begins, blooms, and blossoms. Is that not sufficient although? Two folks liking one another sufficient to need a life collectively? It’s not and the remainder of the movie tries to reply, or slightly interrogate why.

Kammula’s characters have by no means been good. However the flaws of the characters on this movie are far more than amusing idiosyncrasies, appropriately so. The lady who you like and who loves you again continues to be conditioned to assume a sure approach, even when she says in any other case. Mounika has the identical luxurious to be ignorant and naïve as Jo from Pariyerum Perumal does. However as a substitute of conserving her that approach, the writing tries so as to add shades to her. She shouldn’t be the worst of them, however she shouldn’t be the perfect both.

I want this angle was explored a bit extra, however Pallavi is arrestingly good at enjoying this individual. I do know I’m presupposed to say greater than she lights up the display when she comes, however that’s precisely what she does. Even when she is drying her hair within the open, her unscrupulous method wakes the banalities up, and makes them really feel unique. To indicate the viewers the ache that’s simmering contained in the character, with out actually displaying it till the final second, is a stability that’s laborious to strike.      

However the movie is Chaitanya’s to take. He carries Revanth with nice ease and confidence. And since it’s Sekhar Kammula, the character is o’t a mere template. He has his convictions, however he bends at instances. He will get offended when somebody insults him, however he isn’t allowed to show into an offended younger man. And it’s in these moments of doubt and displeasure, we see the actor shine. When Revanth is harm and upset, we are able to really feel his harm. It’s good to see him lastly handle to interrupt the barrier.

It’s not possible to talk about his character with out connecting it to his mom, performed successfully by Easwari Rao. Most movies write moms who’re from a decrease strata as docile and easily-pleased beings. Right here, the mom is the ethical centre of the movie. She is the one who tells her son what to scan whereas searching for discrimination and bigotry. She is the one who forces him to anticipate respect from a society that by no means offers something to folks like them. Their relationship is essentially the most satisfying side of the movie. 

Heroine dancing within the rain is a Sekhar Kammula staple. We have now all accepted it, and we even chortle about it. However as a result of Mounika is a comparatively extra advanced and troubled character, the distinction helps us perceive why the staple exists. Rain songs, in different movies, are a possibility to titillate the viewer, and to maintain the crepe silk trade. However in Kammula’s movies, they’re a respite. Our first intuition once we see rain coming is to cover or cowl, but when a lady welcomes the rain with open fingers, it implies she is bored with hiding/protecting herself. It additionally offers the viewer an opportunity to see this character for who they’re, with out all of the issues which can be bringing them down.

Sai Pallavi in Love Story

Talking of songs, I might have fortunately sacrificed ‘Saranga Dariya,’ regardless of the enjoyment that comes from watching Pallavi defy gravity, if it meant a pre-climax that’s not rushed. The movie comes scarily near pulling a Dear Comrade, and that’s simply unacceptable. If I sound like I’m complaining in regards to the variety of songs, I’m not. Pawan Ch’s music brings the story alive. Particularly the background rating. It mimics the heartbeats of a personality in a tense second, and it enhances the spring within the hero’s steps when he’s comfortable, and it does all this with out bringing a lot consideration to itself. That’s the conundrum although. We wish movies to organically discover a relationship and the folks in it, however time is all the time a constraint. I perceive that the tune shouldn’t be an indulgence. We wanted to see her comfortable as a result of she is, and she or he isn’t allowed happiness. However we additionally want the extra necessary points of the movie given the time they deserve. The errors are comprehensible, however they’re nonetheless errors. 

Marthand Ok Venkatesh’s enhancing and Vijaya Kumar’s cinematography are expectedly practical. The remainder of the forged, comprising the likes of Rajeev Kanakala, Uttej, Devayani, and Ganga Avva, do precisely what they’re presupposed to. Even the side-kick/greatest good friend character is efficient. He additionally wears t-shirts with foolish phrases written on them in Telugu, however we’re not compelled to chortle at them. They’re there, they usually do inform one thing about that character if the viewer needs to know. So simple as that.

Somebody I do know stated the opposite day that regardless of their poetry and depth, Sekhar Kammula names his movies in a slightly generic method, Godavari being the exception. I agreed, and I stated that Love Story is one in all them. It says nothing specific in regards to the movie, and it’s not memorable in anyway. However whereas watching the movie, I’ve observed how the lead couple begins addressing one another in texts, after their mutual confession of affection, and I’ve realised that possibly it’s intentional. There are solely so some ways to handle somebody you like, and even when a phrase like ‘Bangaram’ is a tacky cliché, when it lastly rolls out of your tongue to name somebody you like, it appears like you’ve gotten invented it. Whether or not it’s Qutub Shah swimming throughout Musi, making an attempt to satisfy Bhagmati, or a man like Revanth merely laying a plank to bridge the hole between Mounika’s home and his, it’s all accomplished within the title of affection. And they’re all love tales.

Love Story is obtainable in theatres.

Score: 3.75 stars


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