'Krishna Gadu Ante Oka Range', produced by Sri Tejas Productions Pvt Ltd, is playing in theatres. In this section, we are going to review the latest box-office release.
Story:
Krishna (Rishwi Thimmaraju) loses his father as a child. His single mother brings him up by toiling hard. Satya (Vismaya Sri) takes an interest in Krishna after she discovers that he is a 'Ramudu manchi baludu' type. All hell breaks loose when Krishna locks horns with an influential man named Deva. The conflict necessitates him to own a house of his own. 'Cinema kashtalu' follow. Will Krishna become a landlord and win over Satya in marriage?
Analysis:
Given that this is a drama set in a village backdrop, certain traditional cliches were anticipated. The portrayal of the strong bond among the villagers is illustrated through scenes of them joyfully savoring meals amidst the farm fields. A song highlights the abundance of the river and beyond. The young heroine displays a remarkable level of verbosity beyond her years. Meanwhile, the introverted male protagonist is consistently apprehensive in her company. Amidst these elements, an overbearing feudal lord emerges, intolerant of any form of defiance.
To be fair, some moments did have the potential to click. The heroine is seen arguing with an official over ballooning power bills. The first physical touch makes the hero-heroine duo feel a sense of vibration cruising their body. This is quite the kind of sensibility that director Teja popularized in the early 2000s. Even if derivative, such scenes work.
Yet, whatever scant value exists crumbles swiftly. The overall pace is lethargic, drowsy, and inert (even supposed comedic moments suffer from a dearth of vitality). A character guilty of sexual harassment reappears as a habitual wrongdoer. This archetypal figure harkens back to the characters introduced in films of yesteryears, long ago.
Krishna and his prospective girlfriend Satya share a singular emotion. She playfully taunts him, and he responds with a hint of apprehension. The film's title itself seems like an endeavor to deceive the audience entirely. The male protagonist, instead of showcasing any 'range' or self-esteem, comes across as submissive. The essence of the titular character remains unnoticed until the climax.
Sabu Varghese's decent music in a half-decent universe has been wasted. SK Rafi's cinematography is flat. Debutant Rishwi turns monotonous (he is good in an intense scene and that's all).
Closing Remarks:
'Krishna Gadu Ante Oka Range' is outdated and listless.
