After being transformed into something else, Nag's character goes on a naughty ride across the village and pays a visit to his 'maradalu', who, in her unconcealed excitement upon seeing her charming 'bava', breaks into countryside poetry. This scene captures everything that is most entertaining about 'Soggade Chinni Nayana' - the romantic Bangarraju, his natural Godavari accent, Nag's evergreen chemistry onscreen with beauties, Bangarraju's famed 'teevi' that has everyone in spell, Coastal Andhra nativity, a language that is boisterously out of tune with the routine 'Tegulu' in Telugu movies. More than the story, it is such colourful moments that define this film. "Raa intiki, tippukuntoo navadam nerpistha," Nag's character says to Hamsa Nandini and moments later, a shy Nag coaches her in cat walk. Just to make sure Bangarraju's hedonistic lifestyle is even more exciting, Anushka is brought in and extra-marital affair is unabashedly glorified! Is this the return of the incurable married flirt of the '90s?
The socio-fantasy drama begins with Babjee dying due to the bite of a divine snake. At this time, Ramu (Nag) and Seetha (Lavanya Tripathi) return from US with the intention of applying for divorce. Sathyabhama (Ramy Krishna) tries to convince her daughter-in-law to not apply for divorce and instead try to make up with her hubby. In another world, Lord Yama (Naga Babu) sends Bangarraju (Nag) to be with his wife Sathyabhama on Earth without revealing to him that there is a divine purpose behind his presence there.
On the face of it, the story line is not novel. But the way the screenplay is interspersed with a range of elements makes the film a rom-com with a unique Telugu flavour. It is like revisiting '90s era films and the two characters which are 21st Century are Ramu and Seetha, the problems in whose relationship give rise to a host of interesting situations.
Debutante Kalyan Krishna Korasala keeps it simple and devoid of unnecessary melodrama - all while maintaining the required intensity. The contrasting chemistry between Bangarraju and Sathyabhama on the one hand and Ramu and Seetha on the other, is neatly delineated. Watch Ramya Krishna surprised and cry moments later upon Nag's appearance - she is child-like and innocence personified at once. In contrast, Lavanya looks every bit that independent-minded woman who can't stand her hubby's self-absorbed state of mind. If Nag as Bangarraju is vintage Nag, as Ramu, he is a cross between a child-like man and the son of Naga Chaitanya and Samantha from 'Manam'.
It is a subtlety that the behaviour of Ramya Krishna and the son Nag is charmingly innocent. Like mother, like son - a rarity in our films nowadays.
If Sampath fits the bill, Nasser is admirable once again. Brahmanandam as a fake 'baba' claiming to communicate with dead persons is hilarious. Vennela Kishore and Brahmaji could have been used in a better way, given their potential. Posani is just about Ok. Of all the characters, Sampath is most sketchy.
It would have helped if the story of Ramu and Seetha was stretched till the climax in some way or the other. Since the story starts off with their problem, it would have made sense to keep it alive, to be resolved in a substantial climax. The climax looks less than substantial, although technically it is well-executed.
The film belongs to Nag and those of you who want to see vintage Nag, don't give it a miss. The socio-fantasy element with Lord Shiva connection brings to mind 'Yeduru Leni Manishi' and 'Damarukam'. The element of the light-spirited spirit also brings to memory ANR's films like 'Sri Rama Raksha'. Nag looks all the more glamorous and he strikes a fabulous chemistry with the redoubtable Ramya Krishna. The actress doesn't give a reason to be called a yesteryear female lead! She is irreplaceable as much as Nag is.
Lavanya shows spark in the first scenes of the film. She is a natural, continuing to strike gold after 'Bhale Bhale Mogadivoy'.
Songs are enjoyable in every respect - music-wise, lyrics-wise, picturization-wise and choreography-wise. The title song stands out. Anup Rubens is equally splendid in background music - his core competency. PS Vindo's cinematography is first-rate and Prawin Pudi's editing is well done. Art work is apt.
Computer Graphics are good enough.
Verdict: A well-written and well-executed film with splendid performances, especially by Nag and Ramya Krishna. A socio-fantasy, it will be remembered more for its rom-com strengths.
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