Samayam ledu mitrama… . Hit a..Flop a… ? .That was the last question in my mind when the film finished with the omnipresent discourse as yet ringing in my mind. All things considered, it’s neither and both.
A war is not a simple thing to appear. It ought to have methodologies, fighters, arsenal, mounted guns, hopefuls, aptitudes, topography and all the more critically a proportioned time to feature the starting, the contention and the triumph. Gautamiputra Satakarni is confined up with fights with just a couple of components, which too are clumsy.
The majority of the fights are revolved around Satakarni (Nandamuri Balakrishna), no contention there, he is the substance of the film, however that ends up being delimitation. Being the pioneer of the group subjects in the Telugu business with his uber talk and doubtful tricks, Balakrishna is quite recently diminished to his energy punches in this epic battle(s). Each activity arrangement is a nearby shot of the performer swinging his sword with a touch ungainliness. The mass on-screen character was in no shape to swing his sword persistently for a moment, not to mention battle in four gigantic fights. Balakrishna tossing punches in mid-air is worthy in mass and group filled movies, yet in epic wars, it doesn’t exactly bode well when a ruler hops into an adversary stronghold (on a horseback!) and disposes of the those keeping a rupture (Yes, with a solitary sword). On the other hand the performing artist’s unclear procedure to assault the adversary from all sides befuddling them. They simply don’t loan belief to the typical fight developments
Basically, no measure of time is put resources into setting the scenes. The specialty of demonstrating a fight lies in showing it from each point conceivable. In a hurry to demonstrate the Satakarni’s victories in the nation, there are many chinks that are left completely open in the script.
Be that as it may, the speedy long shots of the areas and the excellent visual impacts exhibited can be acknowledged for sensible depiction.
The other part of story that ensures there are two or three banner bearers in the fights are the very much penned discoursed. From the fight and glorious talk to talking about human qualities and woman’s rights, the story is very much chipped away at blending some effective lines bringing out positive feelings. However, there is a touch of repetition, Balakrishna, with his endowment of talk, drives the story easily. Balakrishna holds his craft of sound and pitch to convey the old superb Telugu (Grandhika Telugu).
At last, the curiosity and the subject from the pages of Telugu history is an incredible pick that we ought to lay back and consider as “stamp as-read” for this Sankranthi. What’s more, Balayya can appreciate it for making it his 100th film.
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