Barring the most relevant theme, could you still believe that this successful potboiler was helmed by noted maker Krishna Vamsi? While walking out of theatres, many viewers like me would have brushed their eyes in disbelief before realizing the harsh reality that the `vigilante’ movie was made by the same maker who daringly strode the less-traveled path with notable films like “Anthapuram”, “Sindooram” and “Khadgam”. It looks like the maker spent around 13 to 14 years to discover this `obsolete’ Telugu film formula-mandatory songs, comedy track and overdose of acting and melodrama- to connect to varied sections of the audience. Jokes aside, has he compromised on his strong belief that cinema should be close to reality and also does he suggest that working with a ‘star’ has its own limitations which even a director of his calibre couldn’t tamper with?(aspiring makers beware). Unfortunately director believes that only a ‘messiah’ ( who have now disappeared even from fiction) could end the atrocities on women instead of realistically trying to drive ‘self-belief’ in girls to protect themselves(barring the deceased) even though he mentions about it in the end, after courtroom drama. Director was busy exposing the insensitive and defunct system repeatedly instead of offering few pragmatic solutions to women to take men by their collar. Even the much-touted courtroom drama is full of rhetoric than anything practical and offers nothing to keep a check on lusting and exploiting male-chauvinists. Do women have no other choice than to wait for an unrealistic `messiah’ to resolve their problems? Sadly resolution suggests so? Check out even if you think otherwise.

Like in the past, director did choose a ‘realistic’ plot but his narration definitely lacks his stamp of realism instead he hinges on stale comedy (which sometimes even cuts the mood), glossy songs and actors who went overboard to carry the movie forward. Even the marriage of the ‘sister’ looks forced upon her (as if they had no other choice) as they instantly approve the demands of would-be in-laws by just relying on the word of station master. Later they don’t even ask the station master nor station master shown chiding in-laws for committing such a heinous crime. Director intended to dabble in ‘vigilante’ genre but sadly overlooked the significance of hot chase by police to draw audience to the edge of their seats with moves and counter-moves(like in “Death Wish”, considered a classic in this genre). Though the protagonist gives a head start for a nail-biting hide-and-seek-game by burning down in-laws in open daylight but police fails to take up the gauntlet. Rather they repose faith on a woman officer who takes her own sweet time before nabbing the culprit (sorry he surrenders to commit another crime) despite having enough clues to nab him much earlier. Probably director wanted to showcase the struggle between an upright cop and a woman within her but the final outcome justifies none. Except for the baddy, the entire police force trusts her but she sounds self-piteous by cursing her limitations for no apparent reason. Director tries to jack up ‘romance’ in a tragic hero who is passionate about his ‘cause’ and awaits impending death with two heroines including Charmi’s contrived role(to insert songs-no prizes for guessing). Besides eliminating women-haters, director should have concurrently tried few other options to trigger ‘self-reliance’ in women barring the ‘deceased’. At least he should have made the protagonist’s sister to walk out on her in-laws before getting killed. By showing all womenfolk including a cop and investigative reporter as meek he himself dampens his theme. Is he indirectly suggesting that women cannot become self-reliant and should ironically depend on a male to resolve their problems all through their life? Unfortunate, isn’t it?

NTR jr plays an emotional brother who knows everything about railways but has no clue about the in-laws of his doted sister. With abundant love he should have been doubly sure before getting her married but he agrees without even giving it a thought. Since he is already in love he should have sought the permission of Ileana before promising to marry Charmi (was he doubting Ileana’s maturity). Similarly he should have informed innocent Charmi about his mission instead of sacrificing her for no reason. He scores as a brother and messiah but fails miserably as a lover.

Comparatively Ileana’s character looks matured and balanced while Charmi falls in love with NTRjr since he is her ‘bava” and not because she liked him. Suhasini was supposed to convey the anguish of a woman cop in this chauvunistic system but it is completely lost in her overt display of emotions. Her wish to bring him up her son as a ‘vigilante’ and not as a person who respects women sums up her confusion.

More Different Perspectives by Friendly Viewer:
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• Bhagyalakshmi Bumper Draw
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• Aa Naluguru
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• Sri Ramadasu
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