For most of you, Dhenikaina Ready offers the much-needed time-pass dose on any day. It is Sreenu Vytla-meets-G Nageshwara Reddy with a Molly idea thrown in. The story could have been anything, the content would have remained more or less similar. It is a kind of film where the situation towards the climax is much as the same as it was in the first scene, but with a cunning hero as the game-changer, it all takes two phone calls to create a life-changing situation in order to bring two warring family heads together. While one of them (Suman as Basha Bhai) doesn't need any bhashan from his son, the other one (Prabhu as Veera Narasimha Naidu) needs to suspend his thinking for two minutes when Vishnu Manchu speaks. It is curtain down for a 22-year-old feud between them and 'Shubam'.
More simplistic than intelligent, DNR does it all without the routine bloodshed and melodrama. Sulaimaan enters the house of Naidu as Krishna Shastri with the sole aim of fulfilling his mother Seetha's desire to unite the two families. After Seetha married Suman, a Muslim, her brother had cut off the groom's leg in a fit of rage. The two harboured hatred and malice towards each other and two decades later, a court order related to a property dispute has only made the matters worse.
MS Narayana (as an astrologer) attributes Prabhu's loss to planetary positions and suggests a yaga to remedy it. Brahmanandam (as Manager Bangar Raju) suggests the name of Krishna Shastri (AVS' son) and after a comedy of mistaken identity, Sulaimaan (Vishnu) morphs into a Brahmin priest.
Well, you would expect him to work towards creating empathy for Seeta in Prabhu's heart but the romantic and funny guy busies himself with ogling at the aunt's beautiful daughter (Hansika) in true cinematic style. Between the circuses around the 'homam', the fooling around with Brahmi and imitating Prabhas, Vishnu seems to have forgotten why he is there in the first place. He shifts Seetha's old-time photo to the main hall much to Prabhu's chagrin. In another scene, he chants 'Saraswati namasthubyam..' which irritates Prabhu who hates to even listen to his sister's name. In yet another scene, he lectures Prabhu for wrongly believing that Suman was behind the abduction bid on Hansika, while the truth is it was planned by Rudrama Naidu (Kota). (If not for Kota, the two families would not have got the opportunity to embrace together again!)
Just as you begin to think that he has made the matters worse by cheating Prabhu even as he has not taken the Mission Basha-Naidu Union an inch forward, it is climax time when a monologue by the hero is supposed to move the one pitiless heart and end a pointless battle. Marudhuri Raja chips in with a line like this: It is not because of your religions that you have been fighting; it is because of 'pantham'. So, it is an avoidable confrontation and Prabhu is awakened!
For all the sense of deja vu it gives (read Dhee), DNR is sparse, be it in building up the Vishnu-Hansika romance or in etching Prabhu's characterization. The engaging Kona Venkat-Gopi Mohan knottiness is amiss.
Brahmi is definitely comical as someone caught between a hard and a rock place. The situations, having been inspired by the Dhee template of comedy, needed some more 'masala'.
Kota's character is a throwback to the films of the 90's wherein mindless villains would come in handy in wrapping up a story that has reached a dead-end.
Instead of relegating him to do the fun act throughout, Vishnu's heroism should have been elevated occasionally. 'Oke guddhu. Nuvvu brathiki unnavu ani telusukodaniki 24 gantalu padutundi' was Prabhu's line, not Vishnu's! He romances with Hansika in songs, not scenes. An emotional bond should have been created between them.
Brahmi tickles the funny bone with his flummoxed expressions and grimaces. Father Dharmavarpu and son Master Bharath could have been given funnier lines. MS Narayana looks jokey and he thinks there are no mobile phones in the 2G India of 2012. He vainly and endlessly tries to gain access to Prabhu by making impersonations to tell him the truth about Sulaiman. Two comedians - Vennela Kishore and Duvvasi Mohan, both very natural and entertaining, should have been given importance.
Chakri's songs are definitely pulsating. For the Yuvan song (second one), the tempo is not built properly for the lusty feel to seem appropriate.
Vishnu's performance stands out, so also Brahmi's. As the jolly Sulaimaan and shy Krishna Shastri, he is a treat to watch. Hansika had less lines to speak. Prabhu, Suman, Seetha and Kota pull it off with ease.
Technically, DNR is a well-made and well-executed film.
All in all, watch it for the G Nageshwara Reddy-style comedy.
Released on: 24th October, 2012
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