'Naruda DONORuda' hits the screens today, clashing with 'Manalo Okkadu'. Here we give you an analysis of what is in store.
Story:
Dr. Aanjaneyulu (Tanikella Bharani) is this curious case of an infertility specialist who hasn't found that perfect sperm donor. It's a do or die for him as many a couple pester him to get them the right donor. As if he were an investigative journalist, the funny doc spots and stalks Vicky (Sumanth), the jobless, wayward youth who can go to any extent to make a quick buck.
Much as Aanjaneyulu tries to convince Vicky about the legality of sperm donation, the latter finds the very idea ridiculous and awkward. After a simplistic lesson on how it's an ancient science practiced even during the days of Mahabharatha, Vicky comes on board. With a count of 120 million, it's a 100 per cent strike rate.
Cash comes swimming toward him in floods. All seems to be going well until Vicky finds himself in a poignant situation after marrying a divorcee, Aashima Roy (played by debutante Pallavi Subhash). By a quirk of fate, the one who is the cause of other couples' happiness himself has to face a painful situation, thanks to an agonized, unrelenting wife who is not ready to take a second chance. The grateful, emotional Aanjaneyulu rises up to the occasion to save Vicky's life from falling on the rocks.
Analysis:
This is what you call a proper story. It derives from the conflicts/drama stemming from the life of a person who was a happy sperm donor for years. At the cost of generalizing, the average Tollywoodian might have conceived the idea of the hero doing sperm donation, but the story would have been in the mold of the proverbial cow story. After a point, it would have had nothing to do with emotions/conflicts arising out of a sperm donor's past, but something else. You know, just like the story of a gutsy environmental crusader descends into a hero versus villain fight with its dose of family drama.
The characters and the characterizations are another plus point. If Sumanth is a typical devil-may-care youngster, his mother (played by the talented yesteryear comedienne Sri Lakshmi) is a happily boozing beauty parlour entrepreneur with a penchant for being English savvy (from 'What the F' and 'OMG' to creating hashtags, she does it all). Sri Lakshmi as Sweety has a progressive-minded mother-in-law whose mindset is a welcome change in our films.
This set-up is complemented by a language imbued in creative doubles entendres. Words like Shakespeare, Sheik Pet, Welcome and more are twisted to generate double meaning. Before you know, you would have lost count of them. In a case of role reversal, the young lovers (Vicky and Aashima) share normal camaraderie, but it's their respective elders who are comedic. The Bengali versus Telugu stereotyping comedy (read 'Rasgulla mohalu', 'Monkey dance') is good as an idea. The loudness of Telugu marriages is subtly mocked through a Bengali character. One feels the idea of the donor sharing banter with his doc is overplayed. Tanikella Bharani does a good job, but playing a full-fledged role comes with its share of challenges for a veteran like him. Had a Srinivas Avasarala been cast, the film would acquired an air of greater freshness. Also, with a veteran, there is a danger of seeming in-your-face here and there.
The emotions expressed and the bonding shared by Vicky and his family members is a good point.
If there is enough justification for double meaning dialogues, the symbolic presentation (through Pepsi and Rocket) should have been avoided for good. It's tasteless and akin to playing to the gallery. Overall, Kittu Vissapragada and Sagar Rachakonda's dialogues are engaging.
Pallavi Subhash turns out to be a disappointment. For all the sad flashback of Aashima, she looks dull. The rom-com track might have been more lively and amusing had the lead pair struck the right chord. It must here be added that although Sumanth puts up a good performance (in a long time, he is very measured in his performance and also looks more handsomer) in general, he is too non-hero material in pulling off rom-com portions. In the second half, Vicky's behaviour with his doc should have been less energetic and more emotional.
Sricharan Pakala's music is OK. The cinematography and other elements could have been better.
Verdict:
A faithful remake of 'Vicky Donor', this film comes with a proper story. The emotions in the writing don't get an adequate translation on the celluloid, though. Production values take a beating, and the casting is not flawless either.
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