Telugu Movie Analysis

Telugu Movie Reviews and Analysis

Friday, 25 May 2018

Attarintiki Daredi Movie Analysis

Attarintiki Daredi is a 2013 Telugu comedy-drama film starring Pawan Kalyan and Samantha in lead roles. The film was produced by B.V.S.N. Prasad under Sri Venkateswara Cine Chitra banner and is written & directed by Trivikram Srinivas. The film was released on 27th Sep, 2013 to positive reviews.

Attarintiki Daredi Movie Review and Analysis

Basic Story:
Gautham Nanda, the grandson of Billionaire Raghunandan, promises that he will bring back his aunt for the 80th birthday of Raghunandan. Gautham joins as a driver at their home as Siddhartha and helps the family from several problems. Sunanda recognizes him but refuses to return to her father. The rest of the movie is about Gautham’s efforts in bringing back his aunt.

Story inspirations:
The basic storyline is based on the movie, Nuvvu Naaku Nachav (2001) for which Trivikram Srinivas himself provided story and dialogues. Although several elements of the film are strikingly similar, Attarintiki Daredi has completely different execution. There are some similarities with Chiranjeevi starrer ‘Bavagaru Baagunnara?’ too but they are limited.

The stories of reunion are a goldmine in Telugu film industry. There are Hundreds, if not Thousands, of movies made with this formula and most of them are successful. The stories range from reuniting people, families to villages. In most cases, the core problem is a marriage not approved by the family or families. The protagonist has to impress everyone by solving problems of the family. The concept of reuniting aunt with grandfather with romance being the subtrack is completely fresh take on the genre.

Story analysis:
The beginning of the movie establishes the nature of protagonist and the core conflict within first 15 minutes which includes a fight and a song too. This can be considered a good beginning as several key elements are handled within a short span. The core problem is about an arrogant billionaire who accomplishes everything through brute-force is to compromise to bring back his aunt.

The majority of first half sets the tone of the film but does nothing to take the story ahead. It’s only after the fight with Posani Krishna Murali that the story escalates. And immediately after a song and fight, the interval episode happens in the form of Nadhiya telling Pawan Kalyan that she won’t return to her father. Although it’s pretty good interval block, it’s not that exciting. Pawan Kalyan saves Rao Ramesh from heart attack, forces Posani Krishna Murali to return hotel documents and stops Pranitha from eloping in first half but there are no conflicts.

The second half starts when Pranitha tells about her love and asks Pawan Kalyan to bring back her lover, Rohit, from a forced marriage. The next subtrack has nothing much to do with the story. Pawan Kalyan travels to Chittoor with Ali and Samantha and brings back Rohit. Nadhiya offers her daughter’s hand in marriage in return for the failed marriage of Kota Srinivasa Rao. Then Rao Ramesh asks Pawan Kalyan to leave as his presence may become a hurdle for marriages. Boman Irani is sick on his death bed and Mukesh Rishi asks Pawan Kalyan to return immediately. This is a point of no return and it should have been an effective interval episode.

Samantha confesses her love to Pawan Kalyan. Brahmanandam arrives into their home as Baddam Bhaskar. Pawan Kalyan uses the opportunity and joins as his assistant. Another subtrack follows that provides ample entertainment but has little importance to the story. Pawan Kalyan is told to leave again after Brahmanandam gets beaten. Samantha elopes with Pawan Kalyan and they both are confronted by Rao Ramesh and Nadhiya. Pawan Kalyan convinces his aunt by narrating repercussions of her leaving and tells her that parents would react same in such a situation. The family reunites and all the subtracks are closes towards the climax.

Opening sequence – The beginning of the movie establishes the nature of protagonist and the core conflict within first 15 minutes which includes a fight and a song too. This can be considered a good beginning as several key elements are handled within a short span. The core problem is about an arrogant billionaire who accomplishes everything through brute-force is to compromise to bring back his aunt. Establishing the major conflict within opening sequence is an achievement in itself.

Screenplay – The screenplay is an asset to the film as it handles many things without going too far from the central theme. The segmented flashback is a brilliant idea as it provides the necessary information without giving away the spoilers. The placement of songs and fights is perfect except for the Kirraak song which comes right after Boman Irani is hospitalized. The Baddam Bhaskar episode is entertaining. Pawan Kalyan narrating his backstory (as Siddharth, a driver in Dubai, lost job after a fire accident etc) using the cues in hospital is good.

Characterizations - The characterizations of Gautham and Sunanda are an asset to the film. Sunanda has been shown as a stubborn lady who demands for more through several scenes. This has been equally supported through the dialogue that her opinions are well respected in the family, so she never thinks about returning to her father. Gautham is portrayed as an arrogant man who solves his problems through brute-force. He is shown beating his assistants and comedians through out the film, but that actually helped the characterization. The central theme of the film is to compromise wherever necessary leaving your arrogance and ego behind. This is told through the characters of Gautham and Sunanda which results in several similarities in their characters.

Connections between scenes – There are several connections throughout the movie which are handled carefully. Nadhiya recognizes Pawan Kalyan as her nephew when he leaves without asking for money when he is told to fuel the car. She figures it out when Posani Krishna Murali returns her documents that Pawan Kalyan is behind it. She confronts him only after he rescues Pranitha. These scenes have been executed very well with subtlety. The movie starts with Samantha getting kidnapped, then board meeting about company shares, Boman Irani asking Pawan Kalyan to fill dining table with people and all these things are concluded in climax.

Dialogues – The dialogues have elevated many scenes in the film. Pawan Kalyan narrating the story of a man who left his family to survive the flood sets the tone of the movie. Rao Ramesh narrating his experience of heart-attack worked out very well. Posani Krishna Murali dialogues while returning the hotel documents are interesting as well. The climax scene depends entirely on dialogues and performances. There are several other instances where dialogues have been effective.

Subtracks – There are 2 major subtracks which fill majority of the second half. The first is bringing back Rohit from arranged marriage and the second is Brahmanandam episode. Both are entertaining but add little value to the main story.

Family members – The family members of Rao Ramesh fill the screen all the time but their background or relationships were never directly told in the movie. The only thing about family that is discussed in the movie is the story of Rao Ramesh’s sister.

Illogical scenes – Samantha getting amnesia after falling into the jeep is cliched. She becomes normal within a day.  When Rohit and Pranitha are travelling in the car and the car stops, Rohit breaks the glass and pops out of the car while Pranitha happily sits in the car. While this is completely illogical, it would have been a little better if Pranitha wears a seat belt. Pawan Kalyan holding the son of Kota Srinivasa Rao by hair in mid-air is another illogical scene.

Pawan Kalyan delivered a very good performance in crucial scenes. His expressions and body language in several scenes of second half reminds us of Khushi. The climax scene is elevated with his performance. Samantha is good in a type-casted role. She has done similar roles several times, so she pulls it off with ease. The variation in scenes where she forgets her past is good. Pranitha is good in her part but her role is limited. Nadhiya played a key role and her performance is impressive. The subtle differences she has portrayed as a young and stubborn daughter arguing with her father and as a matured woman is commendable. Rao Ramesh raised many eyebrows with his performance. The realistic portrayal of his character is praised by everyone.

Boman Irani has limited screen space but he leaves his mark. His performance in the scene where he stands up from his wheelchair is very good. Brahmanandam entertains as Baddam Bhaskar with his attitude. Mukesh Rishi and Kota Srinivasa Rao has limited roles and they justified.

Technical Analysis:
The production values are excellent and the film looks rich. This is probably the only film of Trivikram Srinivas with writer and director in him are balanced. He excelled at everything and entered the top league with this film. The background score by Devi Sri Prasad is remarkable and the songs are equally good. Cinematography by Prasad Murella is good and the visuals are rich in every frame. Editing by Prawin Pudi is good. The stunts are good but some shots are cliched. The mall fight is well choreographed.

Attarintiki Daredi has more entertainment than substance. All the commercial elements are balanced, so the fans of pure family dramas couldn’t ask for more. Overall, it’s old wine in a new bottle.

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