If 'Yevade Subrahmanyam' reminded one of that number from 'Konchem Ishtam Konchem Kashtam' in which an angry Siddharth seems to say, "Who the hell is that Subrahmanyam?" this one is a different context altogether. It means the eternal 'Who am I' question triggered in the mind of Subbu by his friend Rishi. As destiny would have it, Subbu sets on a journey to Dudh Kashi, only to realize his call before he reaches 'Gamyam' (this one doesn't mean destination, but that title featuring Allari Naresh and Sharwanand. This film reminds one of that).
Subbu (Nani) is an investment banker working for Pasupathy (Nasser). He matches up the aggressiveness and acquisitive spirit of his avaricious boss and can clinch a dream deal by hook or crook. Riya (Ritu Varma) wants to marry him and she is open about why - if Subbu has it in him to be on the cover of Forbes, she has it in her to be on the cover of Vogue. The first few minutes make it clear what kind of character Subbu is. In comes his antithesis, Rishi (Vijay Devarakonda), his childhood friend, making entry in an unlikely manner during his engagement with Riya.
Even as Subbu is pulling all stops to clinch Pasupathy's dream deal which is on the rocks, Rishi beseeches him to travel to Dudh Kashi along with him. While Subbu's only aim is material acquisition, Rishi is that 'Zindagi Na Milegi Dobara' type who wants to live a day at a time. On a happy night, they meet Nandi (Malavika Nair), an orphan with no friends, too. While Subbu is least prepared for a relationship with Nandi, he ends up travelling to Dudh Kashi. Why does he have to go with her? What are the consequences of his tryst with Rishi and Nandi?
While the story line is not entirely new, the attempt looks to be fresh. However, director Nag Ashwin stuffs the proceedings with cliched elements after a point. Cliche#1: Self-centered male lead not realizing the value of human life endangered by a road accident, not shedding enough tears. Cliche#2: Self-centered male lead getting emotional on the birth of a child in difficult conditions, thanks to his effort. Cliche#3: A rich Westerner exploring Hindu spirituality in India, thereby setting some thinking in the male lead. Cliche#4: That 'Zindagi Na Milegi Dobara' gem having a childhood crush. Cliche#5: That life-is-more-than-mere-money gem having rich parents. Cliche#6: Slowly-changing male lead risking his life in order to secure what the female lead wants, the most valuable thing. Cliche#7: Girl with different sensibilities addressing her domesticated creatures with names, shedding tears at their death.
To be sure, the film is a good attempt with well-made moments here and there. However, in the absence of any surprises coming after a point, the Gamyam-like feel drains our interest.
It's pretty much predictable and that was perhaps unavoidable. But what was surely avoidable was telling the story more creatively. Merely showing a white-skinned millionaire possessing Ramana Maharshi's book doesn't make for profound ideas. In the end, superficiality doesn't entertain as you struggle to make out if Rishi's cause was self-discovery or fun in the garb of religious tourism. May be, it is in Nani's choice of ethical business as practised by Krishnam Raju (in an effective cameo) that we have to find the answer.
It's also by now less than interesting to watch Nani being made to act like a Rajendra Prasad of the 80s even when facing a death-like situation (that scene where he has a funny expression while about to fall on the cliff). Otherwise, Nani delivers a good performance, in some scenes like at the office, he gets his body language perfect.
Vijay is a good find for sure. His style of acting is very natural and his diction is alright. Malavika oozes no starry grace, but she has that girl-next-door charm which could fetch her author-backed roles.
In the absence of exciting screenplay, the songs interspersed with the narration are a big relief. There is a good Illayaraja rip-off that could have been avoided, even though it is good. The 'nuvu evaru?' moment that comes in the form of a song is a nice idea.
The cinematography is the best when it comes to technical departments.
Verdict: A Gamyam-like theme that is packed with a few good moments and that's all. Cliched narration is its biggest minus, besides total lack of any surprises in the second half.
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