'Vinaya Vidheya Rama', starring Ram Charan in the lead, hit the screens this Friday. Here is our review.
Story:
Rama (Ram Charan) is an orphan brought up by not one, two or three but four orphans (played by Prashanth, Ravi Varma, Aryan Rajesh and Madhu Nandan). These orphans-turned-rich men, their four wives (Sneha, Himaja Reddy and others) and his children are his world.
When Prashanth (as Bhuvan Kumar) is posted as an election officer for the Vizag bye-election, a fight with Pandem Parusuram (Mukesh Rishi) brings the hero into a direct confrontation with powerful people.
Even as Pandem Parusuram, a CM aspirant, is being terrorized by our hero, the CM of Bihar arrives out of nowhere to say why Rama is a saviour.
The second half is about what connects the hero with Bihar and its chief terrorist Raja Bhai (played by Vivek Oberoi).
Analysis:
There is this scene in 'VVR' which defines the film like no other. Sneha's character walks into a street to confidently announce that it's possible to end the era of Raja Bhai. Infuriated, the villain's gunmen are immediately up in arms and ammunition against her. They threaten to pump bullets into her body. Same location, same characters, same day, same time. Just a few moments later, our hero bursts onto the street, stylishly riding a horse. But now, the villain's private militia is not in sight. They were angrily brandishing their fearsome guns just a while ago, no? Why are they not in action when most needed? Boyapati Srinu conveniently removes sense (we are not even talking of logic) from scene after scene in this way.
"Anna, he alone has killed 300 of our people," a goon tells Raja Bhai in an earlier scene. Don't ask when and how. The hero is an avatar of massacres. Boyapati simply says a number and we should say 'Wow!'. In future, the figure may be hiked to 1000, 2000, 3000. As long as the killings are not depicted, a director is free to throw around any random number. It comes free of cost.
There is this scene where women's activist named Puppy (played by comedienne Hema) enjoys her daughter (Kiara Advani) being molested by our hero in the presence of his great family. Puppy usually delivers Vijayashanthi-style kangaroo justice for victims of rape and eve-teasing. To our hero, though, she proudly offers her daughter in marriage. A scene later, Sneha's character explains why Puppy is an ideal individual. This scene reminded this reviewer of the kind of ridiculous explanations our directors give about their weird screenplays. The kind of explanations only they can come up with about the pathetic things they create.
Vivek Oberoi runs a 'sena' which bombards army camps and has the Chief Minister at his beck and call. Never mind that he doesn't know how to save himself only when it comes to the hero, who arrives equipped with Google Maps on a Netherlands-born majestic horse. Even as a child, our legendary hero came back from the school just in time to save his four elder brothers. Earlier, as a toddler, he cried at the right time to save four orphans from committing suicide and unwittingly became their all-time saviour.
Some PET sir told the four brothers and their wives to arrange themselves separately while at home. Every time, the four women are seen together in one place and their husbands are seen together, at a distance. Their children are always together in another place, most often with our hero. This is just an aspect of the artificiality that abounds in the hero's family.
There was a time when our heroes used to be satisfied with daring MLAs and Ministers. Slowly, their antagonists started to be CM aspirants and even CMs. Boyapati goes a step ahead in this film. He has a CM narrating a flashback, not to the hero but to the hero's family. If hero elevation is the purpose here, why can't it be the PM himself coming down to narrate a flashback in a chartered flight and go back to PMO? Please try it in one of your next movies.
Excessive violence is the hallmark of the second half. Scores of men are reduced to a pulp by our hero, whose Rambo-style avatar is unveiled to glamourize him in a contrived way.
Kiara Advani can't be called the film's liability. When a film's entertainment value is in the negative, even the most useless character can only be a bit better than the negative. Intrusive songs in an intrusion film are also not much to be bothered about.
Ram Charan scratches the surface. His dances are cool and dialogue-delivery works to an extent. Kiara's talent is wasted. Sneha is good and Prashanth is over-dramatic. Vivek Oberoi's characterization is too outdated and his performance scores pass marks. Mukesh Rishi, Harish Uttaman, Hema, Prudhvi and others are forgettable. Eesha Gupta is wasted, whereas Priyadarshan is OK.
This has to be one of the most lifeless BGMs from Devi Sri Prasad. You know about the songs. The cinematography by Rishi Punjabi and Arthur Wilson is good enough. Kanal Kannan's action sequences are over-the-top.
Verdict:
'VVR' is a long showreel of unrealistic heroism, outdated villainism, artificial romance and an incredibly dumb plot.
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