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Two major issues that the film deals with are the smuggling
of idols from temples by Kanakaraju (Jayaprakash Reddy) and
how a cantankerous old lady (Sakuntala) tortures her daughter-in-law
Nagalakshmi (Rasi), the moment the young girl arrives at her
home, and finally how she pays for it.
The reason why Sakuntala hates her daughter-in-law is because
she is the daughter of her maid (Alapati Lakshmi).
Joining her in the harassment are the other two daughters-in-law
(Rajita, Harika).
Kanakaraju, the brother of Sakuntala, helps his sister in
finally throwing Nagalakshmi out of the house, in the absence
of Aditya (Sijju), who goes abroad to pursue studies.
After Nagalakshmi is thrown out, she goes to Nagadevata temple
and notices one night Kanakaraju stealing the idol. She tries
to stop him, but is beaten and is declared dead by Kanakaraju.
But a surprise waits on their return. Nagalakshmi is back
at their home to greet them, but this time displaying authority
and control on household matters. Soon we realize Nagalakshmi
is no ordinary woman, but is possessed by the goddess.
This kind of 'godly fiction' surfaces on the screen now and
then, because subjects with superstitious beliefs still attract
audience.
Rasi, Jayaprakash Reddy and Sakuntala dominate the screenplay
in that order. Rasi stands out with her performance. Jayaprakash
and Sakuntala over-dramatise their characters to repulsive
levels.
Ramireddy plays a routine 'mantrika', whom Kanakaraju approaches
for help, towards the end.
Music by Srinivas and photography by Vijay Kumar are tuned
to the mood of the film.
courtesy:
The Hindu
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