There is this Trivikram knack that makes a film look entertaining in silos, whether or not the whole is as much entertaining.  'A Aa', based on Yaddanapudi Sulochana Rani's novel 'Meena' (which was adapted into a movie by débutante director Vijaya Nirmala in 1973), comes with some of the most measured dialogues and well-etched characters in the writer-director's career.  For those of you who found someone or the other going overboard in 'S/O Sathyamurthy' or even 'Attarintiki Daredi', the 'manchi mata' is that everyone in this movie is restrained in his/her performance.  There are no scenes that overstay.  There is no character that is over-indulged.  No overuse of rhyming words, thank God.  Above all, Nithiin's most dignified performance matches up to Samantha's seasoned portrayal of a naughty but child-like dad's girl who gives her frustrated mom reasons to feel insecure.

The trailer said it all.  What the trailer didn't say about the story, the flashbacks that come in instalments (Attarintiki Daredi-style) reveal.

As the film begins, Anasuya Ramalingam is out to take her own life because her mom (Naidya as a doting but my-way-or-highway elder) is forcing her into a marriage.  Her father (Naresh, surprise-surprise, delivers an understated act) is by her side and he sends Anasuya to the house of Nadiya's  late brother.  There begins a breezy equation between Anand Vihari (Nithiin as a quintessential family man, subdued in his composure) and the 'maradalu', but they are not only separated by a class difference, but also the burden of a loaded past and the emotional blackmailing of a village big shot (Rao Ramesh at his quirky and mean best) whose daughter (Anupama Parameshwaran as that strange girl who falls in love when the guy is bashing up her blatant brother) is jealous of the growing chemistry between 'A' and 'Aa'.

Just what does it take for Trivikram to make the audience root for the characters?  Dialogues like 'Nenu vontodini ani prathi 10 nimishalaku gurthu cheyala?' (Should I be reminded of my cook's identity every ten minutes?).  Elements like Rao Ramesh mocking at Nithiin's middle-class status saying, 'Nee chelli attarintiki edchukontu potundi, Naa koothuru edu varala nagalatho potundi'.  The writer is on a rampage here.

If the screenplay has certain bright spots (the entire rom-com episodes in the first half, the dad-daughter chemistry that is charming, Anasuya's attempt at provoking Anupama's Nagavalli), it also has some dull moments, especially in the first 30 minutes of the second half.  The shopping mall screenplay thankfully doesn't overstay its welcome.  The film again pics up toward the climax, presenting a climax where Anand Vihari discovers the utility of the last lesson of his father.

The village introduction song and 'Mummy Returns' could be personal favourites; the songs are interwoven into the screenplay without acting as a distraction.  Nevertheless, 'Yellipoke Syamala' comes at a time when the film seems to be insipid.

Trivikram laughs at the super rich, thereby giving the middle class some feel-good moments.  Depicting rich brats as kiddish in his style.  One (Srinivas Avasarala as a lovable 'Giraffe') has to carry a stick to gain confidence, while Rao Ramesh has to realize how the quirk of fate has made a 'bakra' of himself (read the last scene which has everyone in the theatre laughing out loudly).

A big drawback surely is the absence of Trivikram-style comedy, those Brahmanandams and MS Narayanas are missing in action.  The hero's sidekick Praveen is forgettable and the heroine's sidekick Hari Teja could be remembered more for her screen presence.  On balance, the kind of comedy that youngsters look for is absent.

Trivikram extracts very realistic performances from his star cast.  Nithiin delivers one of his career best performances (this must till date be among the top 3 ones, if 'Jayam' and 'Sye' or 'Sri Anjaneyam' are considered his best ever) without doubt.  One is pleasantly surprised to see a matured Nithiin pulling off a neat act in the climax.  On the other hand, Samantha's child-like demeanour is intact.  She doesn't have to cry too much, which is a relief.  It's her film, broadly speaking, as far as the first half is concerned.

Nadiya fits the bill and is at her best as a strict mom.  Naresh, as said before, is wow.  Anupama's role is disappointingly short, but she makes an impact even with at this length.  Rao Ramesh is eminently watchable, once again.  His modulation when he says 'ye matram isvasam unna' in the climax stands out.  Ajay is another surprise package.  Ananya, Eeswari Rao, Srinivas Avasarala, and Posani Krishna Murali are enjoyable.

If Mickey J Meyer's songs are a plus, his BGM is a bigger plus.  Natarajan Subramaniam's cinematography does full justice to Trivikram's vision.

Verdict:  'A Aa' has no exciting storyline, but the performances surely are a great takeaway.  Watch out for some nice scenes and visuals.   Don't expect big-time comedy.  Expect Trivikram to entertain with interesting characters, besides intelligent dialogues.  He gives them.

తెలుగు వెర్షన్ మూవీ రివ్యూ