The cleverness in Raja Raja Chora, where the protagonist plays a petty thief, is not hidden in his approach. Screenwriter and director debut Hasit Goli turns things around. To reveal the intersection of a group of morally ambiguous people. And the precarious situation they find themselves in. The result is a whimsical comedy with loud laughs and an emotional tale of punishment and redemption.
At first glance, Raja Raja Chora’s surroundings looked like a separation from “Brochevarevarura’s kinomatic universe”.
Has worked with director Vivek Atreya before writing and directing the film. Knowledge also comes from the presence of several Brochevarevarura actors and crew in this film.
The story introduces us to the characters. We’re likely to meet around town but may not stop to take a closer look. Bhaskar (Sree Vishnu) is a thief by the night and also works at a photocopying centre by day. Dissatisfied with his marriage to law student Vidya (Sunaina). And still pretending to be software engineer Sanjana (Megha Akash). All three have in common the pursuit of a better life. A better paying job that gives them more dignity, and a roof of their own.
We gradually understood why Bhaskar used thieves and the rocky terrain on which he built his marriage. Fortunately, history does not justify his actions. This allows the grayscale to define it.
Hasit explores the moral compass through various characters. If Bhaskar is going on the wrong side of the law. Who is punishing him and what is his moral position?
The film shifts into top gear when Bashar crosses the road with police officer William Reddy (Ravi Babu).
For 20 to 30 minutes, the part before the break. Plays out as a comedy bug that reveals some character flaws. The excitement is quickened by Anjana (Gangava). Who instigates Bhaskar to commit a crime disguised as a king. As he believes that the crown plays a decisive role in fate.
The highlight of the entertainment is expected to be softened by Vidya’s emotional sadness showing Bhaskar her proper place. He may dress like a king, but he is the driver in their married life and does the hard work.
While part of the story revolves around Bhaskar, Vidya, and Sanjana. Several other characters have well-defined rainbows, and their journey adds to the larger story. Ajay Gosh, who owns a photocopy shop, and Gangava become the catalyst for Bhaskar, who wants to redeem himself. Ravi Babu, who wants to make thieves a scapegoat, and Srikant Iyengar as a doctor. Who is more interested in the lucrative real estate business, are among the morally corrupt heroes.
Raja Raja Chora is a richly detailed story that uses Vedaraman Shankaran’s cinematography. Vivek Sagar’s multi-coloured music blends seamlessly from classic Carnatic to fusion and western Viplav Nyshadam’s editing.
Sree Vishnu is effortless as the man next door and convincing in comics and emotional sequences:
Where he wants to turn a new page. Sunaina and Megha Akash got well-written characters with enough room to build themselves up, and they did it right. To add to this gravity story is the timeline, from Mahashivaratri to Rama Navami. Which becomes the tool to use Valmiki’s story for salvation and the start of a new journey. Tanikella Bharani appears briefly as a priestess.
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Vivek Sagar’s music deserves special attention as it plays a good role in spreading this story. And while Hasit’s story is interesting, the timing of the execution doesn’t seem right. Again, his decision not to rush and give Bhaskar’s character to breathe and reflect. It may not be to the taste of someone accustomed to fast-paced films. The story’s first half is optimistic, and the second half, while slow, does all it can to keep you hooked.
Is the King of Chora the most fictional story ever told? Maybe not, but in the end, it’s a promised fun ride! If frivolous talk is not taken too seriously is your thing, this is the place for you.