In this section, we are going to review 'Rangamarthanda', which hit the screens on March 22.
Story:
Raghava Rao (Prakash Raj) is a former theatre artist of repute. He is found living a desolate life ostensibly after his son (Adarsh Balakrishna) and daughter-in-law (Anasuya Bharadwaj) shooed him away. The film takes us through his chequered journey with a special emphasis on his emotions, sentiments, ideology, and his special bond with his loyal wife (Ramya Krishna) and childless friend (Brahmanandam).
Analysis:
While remaking the Marathi film 'Natasamrat' (2016), Krishna Vamsi appears to be playing to his strengths. One of these strengths is his ability to portray the not-so-complex relationships within a semi-joint family. Additionally, he seems to appreciate it when his actors deliver theatrical performances in emotional scenes, a style of expressionism that has worked well for him in the past, up until the film 'Mahatma'.
The film under review appears to espouse old-school sensibilities, revolving around a family torn apart by inter-generational conflict. Prakash Raj plays a protagonist who is portrayed as virtuous but ultimately pays a price for taking himself too seriously. After spending decades as a celebrated theater artist and earning numerous accolades, he proudly announces his retirement, only to discover that the younger generation in his family does not share his ideology and values.
At some point, the film relies too heavily on inter-generational conflict without fully exploring the protagonist Raghava Rao's own shortcomings. He is far from being a perfect husband (he admits to infidelity in the presence of his friend), yet judges his own daughter based on a singular incident. If everyone was like Raghava Rao, the family system would collapse overnight. This brings us to the stretch where Raghava Rao and his timid wife set out on a self-destructive path overnight.
The conflicts are contrived to reach a predetermined plot. Krishna Vamsi could have made more of an effort to make the friction in the family look authentic. Instead, the focus is always on making everything appear cathartic. The young women are catalysts - for the worse.
The film works more as a friendship tale rather than a family drama peopled with stock characters. Had it not been for the theatre/stage-acting backdrop, the dialogues (by Akella Sivaprasad) wouldn't have come to life.
Maestro Ilaiyaraaja's music is soulful. 'Puvvai Virise Pranam' reaches the zenith through its music and Sirivennela Sitaramasastry's lyrics. 'Nannu Nannu Ga' and the Telangana folk song headlined by Prakash Raj and Rahul Sipligunj are enjoyable. The cinematography is functional, while the editing is far from satisfactory.
Prakash Raj delivers a phenomenal performance. Brahmanandam is endearing, and this is his first all-out serious outing in many years. His banter and camaraderie with his onscreen friend evoke pathos. Shivathmika Rajasekhar is superb in an emotional scene where she has to look regretful. Rahul is a natural. Anasuya Bharadwaj is good. Ramya Krishna looks somewhat out of place in the scenes where she has to keep mum.
Verdict:
'Rangamarthanda' is an average film that relies heavily on performances and dialogue.
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