Of late watching movies has become akin to the game of a ‘treasure hunt’. We, as audience, try to find the story in a film that plays hide-and-seek till the interval and when it unfolds on screen what you get to see is a run-on-the-mill, done to death storyline. But you are in the game so you try to be content with whatever you have found in the form of treasure – the story. Or some may walk extra mile in pulling out all the tiny pieces of inspiration that went into making the film. Call it homage or inspiration; these are the rules of the game. Doosukeltha also falls in the same zone offering audience nothing new, but it gives the audience more leeway to get into the treasure, err, story hunt mode.
Doosukeltha opens with the childhood episode of hero and heroine and it shifts gears to the present time. Chinna (Manchu Vishnu) tries for a job in a news channel. The editor (Posani) gives him a task to perform a sting operation on a minister and get the details of his wrong-doings. Chinna succeeds in it but gets hit by a vehicle and lands in a hospital. There he meets a doctor Alekhya (Lavanya Tripathi) and falls for her. He leaves no stone unturned to win her heart and finally strikes gold. But Alekhya’s past haunts her. The minister’s henchmen are chasing down Chinna and Alekhya. What is Alekhya’s past? Will Chinna win in his operation? Is getting a job his sole objective or is he up for a larger scheme of things forms the rest of the story.
Manchu Vishnu fires all the cylinders in the film. He is seen in every scene and every frame. He more than ably carries the film on his shoulders and fuels the narration with his magical presence. Right from the word go, he ignites the entertainment vehicle and never sways it away from its trajectory. He brings in loads of energy to his dances and fights. However, he can never leave his antics – his diction and modulation, which has become repetitive.
Lavanya Tripathi looks underplayed and mediocre in her role. She couldn’t bring the charm her forerunners – who did such roles – left around. Even in the emotional scenes – when she’s accepting love of the hero – she doesn’t show her acting skills. She looks pretty and stands out from the rest, but her acting skills raise the eyebrows.
Of all the supporting cast, Pankaj Tripathi (Gangs of Wasseypur fame) gets registered. He is menacing on screen and mixes various elements – comedy, emotion, stillness – in his act. He is great find for Telugu cinema. Kota Srinivasa Rao, Rao Ramesh was perfect in their roles.
Brahmanandam leads the comedy wagon from the front. He is assisted by Raghu Babu, Posani, Vennela Kishore, Ali, Bharat and a huge bunch of comedians. It’s good to see Brahmanandam getting a large screen space and he fills the film with an overdose of comedy making it a laugh riot.
Veeru Potla has patented the commercial Telugu cinema template. He tries to induce comedy in every scene where Vishnu is on screen and dishes out emotional platter when required. His Bindaas tasted success and Doosukeltha can be called an extended version of that film. He didn’t try anything new in the story department but overloaded the film with hilarious characters and also brought into confusion into viewers’ mind. At one point of time you never understand how everyone is connected, but his master-stroke connects the dots effortlessly. What works in the favor of the film are the one-liners and punches of Vishnu that were written by Potla himself.
“For men may come and men may go, but I go on forever”. Mani Sharma stands as an affirmation for this poem. We just need to replace ‘men’ with ‘music director’. Time and again, he proves that he is the master of re-recording. Every scene gets elevated because of his background music. He perfectly synced the film’s mood into the audience with his score. The song Alkehya is sheer genius of Mani Sharma.
Cinematography by Sarvesh Murari brought a rustic aura to the film. He pulled off the city shots quite adeptly and also the ones in the village.
Editing by Marthand Venkatesh could have been crisp and he should have cut down the movie’s runtime.
Gopi Mohan penned the screenplay along with Veeru Potla. Gopi is a master in this genre and he’s proved again with this film. Though the scenes and song placements were routine, the way he revealed some crucial twists during the narration is quite interesting.
Doosukeltha is packed with so many gags that you can’t avoid this movie. Manchu Vishnu takes the cake with his acting and the comedians complement his effort. Although the film slips into clichés, the comedy and entertainment quotient of the film saves it. The second half is better than the first. The film doesn’t try to beat the formula but never stops the entertainment engine. It keeps on going and going, and you keep on laughing and laughing. The movie is a masala entertainer and a treat for comedy lovers.
My Rating: Expectation – 7/10; Reality – 6/10view less