Stalking seems to be new ligo of romance among the present film makers, in that, stalk, stalk until the suspectible lass succumbs to the charm offensive of the persistent lover boy has become the credo.
With censors taking a benign look at the films given its overal intent directors after directors seem to get away with this craze in this Whatsapp, Twitter and Facebook age goading the gullible to adopt the same strategy in real life.
Of course, film makers ensure that there is a larger social message couched in their otherwise antediluvian ideas of courtship even in this 21st Century, of family responsibilities, standing on one’s own feet blah blah.
But, then trust those motley of noon time entertainment seekers who wish to lose themselves in the chimera that celluloid constructs to carry away the hidden social message and eschew the film’s socially degressive diversions. No way.
Buguri, while, in this context is watchable from among the many films of the genre, in that, the film’s cinematography and music simply covet you, the film, on the whole, turns out a rather ennui driving, trite and tepid time at the theatre.
Ofcourse, Buguri’s two heroines, like the picturesque Mangluru coast as also Malayasian touristy spots are a feast for sore eyes, with Ganesh too having a reasonably attractive presence.
Buguri is no thinking audience’s film. If logic be forgotten and whatever tosh that is thrust at one is assimilated, then Shridhar’s Buguri will be tops, else it’s better to keep away and listen to the songs after buying the music CD.