Disclaimer: This review is written by a Naga Chaitanya Fanboy
Tollywood stars may need to up their ante. There’s a new sheriff in town and there’s no doubt that he is a force to reckon with. Young ‘Yuva Samrat’ Naga Chaitanya will set a new box office record in Andhra Pradesh with his latest offering Thadaka. This star, like a tiger waiting for its prey, has been waiting since long time to touch stardom. Finally, his efforts bore fruits. He was so deadly, in fact, that his counterparts would go blind from over-exposure to pure awesomeness. The man is now set to break the records set by others, and stamps his supremacy in an already crowded galaxy of stars in Tollywood.
A man who believes in cherry-picking his scripts knew no bounds showing his acting prowess in this film. Innocence, romance, emotion, action, dance, comedy – say it, he delivered it at the drop of a hat. Of all the multiple hues of Naga Chaitanya, the way he ably juggled his innocence and comic timing in the pre-interval fight sequence is the one to die for. In the film, you’d revere his cute look, rugged look, spiked look, and above all the macho look – all rolled into one. At the fear of sounding immodest, I would declare that the star is reborn. Need I say more!
Having said that let me get touch base with reality. The above paragraph is a ploy to glue your eyeballs to the review. As a fan, I spoke a few things about Naga Chaitanya Babu and for the remaining dose of few good things, please watch Thadaka. After a long hiatus, with this breezy entertainer, director Kishore Kumar Pardasani struck like lightning. This film will burn other movies in its vicinity, that’s the immense energy it exudes. Kishore’s last outing was Konchem Ishtam Konchem Kashtam in 2009. This time he remade the Tamil film Vettai and delivered a no nonsense ensemble that’s replete with many WOW moments. He tried to keep the movie close to Telugu flavor and captured relationships and their interspersing emotions in a better way.
The movie is about two brothers – one fearful and the other fearsome. Their journey through life, how they complement each other, their love stories form the story. As every commercial potboiler, the movie is a loaded gun with bullets of comedy, action, songs, dances, villains, and other wicked elements and ultimately ending with good’s win over evil. So, don’t expect anything new, but the way the narration is layered makes it a novel one. The movie gives a déjà vu feeling of SVSC, Dhada, Gopi Kishan (Hindi) etc, but the taut screenplay swashes everything.
Sunil’s character was underplayed in the first half but he fires all the cylinders in the later one. He’s paired opposite the lanky Andrea Jeremiah who looked pretty and made a remarkable Telugu debut. Apart from the group songs there aren’t any duets for them. Tamanna occupied more screen space than Andrea. In an uncanny introduction of both the heroines, two extra frames were dedicated to Tamanna, and this made it clear that she is the apple of film-maker’s eyes. Some songs are forcibly induced in the narrative and the song Mara O Mara is a treat to watch. This song is hard hitting for obvious reasons and can be termed as modern avatar of Hey Goodbye Priya from Yuva.
The comedy track is laced throughout the movie. Certain symbolism – meka pothu, hanging name plate etc. – makes the laughter quotient exponential. Sometimes it’s Sunil who evokes chuckles, and most of the time it’s Brahmanandam, Rama Prabha and Vennela Kishore who take the mantle. Not to forget, Naga Chaitanya induces his dose of laughter in many scenes. Asutosh Rana looks menacing as the antagonist, and his magnetic presence lightens up the screen.
Three cheers to the adrenaline-rushing, well-choreographed action episodes. Cinematographer Arthur Wilson pushed his envelope in canning these action sequences. The slick editing of Gautham Raju is another reason to cherish. He managed to fit the movie into a reasonable runtime.
Guitar, Violin, Veena, Flute, Drums, Strings, Saxophone, Harmonica – No, I am not reading a list of musical instruments. These are the ones used by S S Thaman in the music department. After a long time, his music is refreshing. I generally refrain from commenting on his music, but this time I couldn’t resist myself. The background score is decent and elevated the scenes consistently. Now the great DSP got a competition because Thaman has evolved and learnt the art of churning a mass number.
Bottom-line: This movie offers three things – Entertainment, entertainment and entertainment.