If you cut it in half, you get two things that underlie the film.
The ocean part is quite simple. The Bay of Bengal surrounds Vizag, and the film uses it to define its premise. The port is where drugs are smuggled back and forth. And everyone wants a part of the deal. The sea is where you can throw corpses like banana peels once you have what you need. The prefix is the catch here.
In Aditi Rao Hidaris Maha, characters. Those who do more than cry or die are given and delivered. It’s like the ocean too, or at least we’re encouraged to think. Someone who seemed so calm and someone whose character was as rich as doom when it came to love. When he chooses to love someone, he never sees if the other person is worthy or willing. A great source of conflict, but this film doesn’t make good use of it.
The sound is harsh and powerful for a film. That is supposed to be about people and their hidden depths. The background music and sound design confirms this – even the crows that should be outside will scream as if they were sitting on your shoulder. In addition, it looks voyeuristic but a little misogynistic. Recordings aimed at a predominantly male audience are commonplace, no matter how inappropriate they may be. But what should be a homage to Ramba, the last star, has clips conveniently set up for the camera to graze on. If a woman who isn’t part of the film isn’t left her way. You should take it as a sign of surrender.
But you are no less than the director of the Rx 100. However, you also expect technology to keep up. Despite everything, I didn’t like about Ajay’s debut. It turns out to be pretty impressive. Writing also allows characters to be more than one thing. You never know whose side you are on. I’m not saying he didn’t try in this film. On the other hand, many potential ideas could make for a better film.
Take, for example, the character of Smith (Anu Emanuel is quite good).
If he had had the opportunity to educate himself fully, he could have added a lot of drama regarding Maha in the second half of the film, but he fell into a corner. In one of the songs – Caitan’s mellow melody is a beautiful distraction from the testosterone drop in the rest of the film – we see him reading, or pretending to read, Min Jin Lee’s Pachinko, which has a faint resemblance to the film. It’s the most exciting thing he can do in the entire film.
As soon as the film begins, it establishes itself as the moral core of the film. Part of it is related to Arjun (Sharvanand). Everyone was after him, and he was bearing everyone’s burden. Viewers have no choice but to choose their country and live there. And no one plays a more vital pawn better than Sharwanand. He is moody and morally firm, but at the same time, warm-hearted and easily defeated. Even if this contradiction in his behaviour isn’t backed up by good writing. The actor’s seriousness penetrates your heart and makes you feel it.
Vijay (Siddhartha), an opportunistic friend, is the Yang to Yin of Arjun. It doesn’t have its moral compass, which works well because the movie doesn’t work either. His character is the most exciting aspect of a widely written film. But he’s not solid enough to do more than is necessary to develop the plot. However, Siddhart’s innate gentleness keeps viewers from punching the characters as one or the other.
Not only that, the film as a whole is outstanding.
Jagapati Babu perfectly plays a seemingly good guy with his program, literally called Chunchu, a mouse. Saranya Ponwanan can play with another mother and is fun even when she’s not around. Ramacandra Raju, who plays Danucai, is also great as a person who can scare the inside of a photo frame. Rao Ramesh is excellent as always, but he’s the only character that stands out with precise moves and obscure motives. I mean, he lied to the character, turned around and seemed to be laughing.
Raj Thota’s camera shows us a different kind of Vizag. Often sad and dangerous, and skilful production design helps create and sustain this world. Legal’s installation is also fresh and makes a stage as old as the train station an exciting moment.