![]() ![]() Varsha gets a montage song that mirrors her state of mind. Vennela Kishore, as an RMP doctor, had so much potential but his character is underwritten.ĭebutant Ganesh gets to play a uni-dimensional character the writing fails him. Subbaraju, who plays a 40-year-old bachelor, is fun to watch the 'Baahubali' actor has so much calibre in him to enliven situational comedies. Rao Ramesh, despite his predictable reactions, is still praiseworthy. Character artists get it rightĪmidst a sea of convenient plot turns, Goparaju Ramana keeps the audience engaged with his quirks. This is not how things pan out in real life. This is how melodramatic crybaby-friendly family dramas used to stage scenes in the olden days. After he says 'Yes', the conflict worsens because nobody else wants to listen to him anymore. There comes a point when Bala has to confess to something in the presence of hundreds of people. ![]() This film is old-fashioned in another fundamental way. There are no close-up shots of a key character (no, it is not Divya Sreepada). It is as if the director felt she has no purpose beyond displaying her large-heartedness. You don't see the female lead as often as you should in the second half of 'Swathi Muthyam'. In the olden days, filmmakers used to resolve issues by writing ideal female characters. Old-school thinking robs Bhagya of a distinct personality. The bonding between Bala and Bhagya doesn't feel personal rather, it feels plastic. This brings us to how the screenplay treats the bonding between the lead couple. By the time the film is over, you will remember the reactions of Bala's father (played by the ever-so-effortless Rao Ramesh) more than the pain undergone by Bhagya Lakshmi, the most affected person. This film understands the psychological and behaviour of middle-aged men displaying a sense of entitlement and anger more than unsuspecting youngsters caught in a bind. His creative choices work when the lens is focused on the elders. Debutant filmmaker Lakshman K Krishna relies excessively on the power of situational comedy rather than drama. ![]()
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