Review Malli Malli Idi Rani Roju & earn 20 DM Points.*
Whether in literature or in movies, do you know when, there are too many long dialogues? When the writer wants to tell us a lot of things, give us a lot of fundae or life lessons and yet, lacks the creativity or the will to create enough anecdotes, enough instances or metaphors to let the audience understand on its own. Malli Malli Idi Rani Roju falls prey to this self-indulgent foray of Kranti Madhav, who had won a lot of acclaim for his debut effort, Onamalu. This time around, he had two competent actors at his disposal, decent budget and a plot that, for a while, pretended to be different. The tough part, in Tollywood, when it comes to movies like these is getting the budget. Kranti gets past that. Where he fails is, surprising as it may seem, the fleshing out of a storyline. What happens instead is just characters talking, talking and talking.
A lot of talk happens when the director wants to establish characters and their personalities. Instead of creating a scene that establishes the character, you make the character just say a few lines. Easy, isn't it? Really tough on the audience though. What worsens the issue is the fact that the dialogue writer Sai Madhav Burra goes on a spree, trying to write interesting, rhyming, Trivikram-like dialogues. What is funny is that, if you pick them up and think about them, quite a few of them are absolutely senseless. They do no mean anything, except make the character come across as a thinking, mature individual.
Malli Malli Idi Rani Roju is a love story between a Muslim girl Nazira Khanum (Nithya Menen), heir to a Malaysian billionaire and Raja Ram (Sharwanand), a national gold-winning sprinter. Somehow, the love story doesn't receive the ending it deserves and the characters are entangled in a weird twist of fate. How, years later, the two come together again is what makes for the story.
The movie is a pretty pretender of sorts. Although, it aims for a different ending, what it is in actuality is just a whole bunch of convenient cliches, very convenient happenings that play out for the characters' eventual rendezvous. While the director is desperate to make them look like lovestruck people, who would spend a lifetime in melancholy, you cannot help but wonder, why. The movie has its moments, a la Bombay, some romantic seconds and some good dialogues in between. However, those bits and pieces are lost like a few flowers stuck inside a bunch of thorny twigs. You want to like the movie. It is not a bad movie. It is not a bad story either. But, you might end up feeling a little let down, a little annoyed by the way the makers indulge in unnecessarily, prolonged, intellectually-pretending dialogues that have no place to be there. There are creative sparks all over the movie, that somehow do not come together to create a spectacle.
What truly saves the movie is the romantic, vibrant and lovely camera work by Ghana Sekhar VS, who gave the whole romance some lovely angles, without overdoing any experimentation (wedding candid videography style) at any point. The other highlight of the movie is the music, soft, melodious and soulful and Gopi Sundar of Bangalore Days and Ustad Hotel fame should be lauded for his efforts. All in all, it is a movie that could have been a good romantic tale in better hands.