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Vijay Krishna (Sai Dharam Tej) plays a young man who has not enjoyed much success in life, although he has it in his name. The life of this unlucky person changes when two women enter his
life.
The first girl who illuminates her otherwise dull life is Lahari (Kalyani Priyadarshan), a student in Hyderabadi and the girl who inspires her confidence is Swechcha (Nivetha
Pethuraj), a business executive. The film revolves around the impact of these two women in his life and his success.
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The director Kishore Tirumala of Nenu Sailaja and Vunnadi
Okate Zindagi wrote a story about a "rejected coin" (loser) finding his mojo unexpectedly. In other words, it is a film about the success of a girl without success.
history by telling how his innovations (he is an engineer who likes to invent something new) are rejected by investors and how he finds solace in alcohol. It brings the point of conflict with the
introduction of Lahari, who brings the veluturu (light) to his cheekati (dark) life. But she does not like people who drink alcohol. He's lying about his drinking habit and how that becomes a point of conflict is
It begins on a slow note, but the film takes its throat in the middle, despite occasional slips and meanders. The director brings another girl into his life in the second half and
also comes to the central point of the plot thus making the movie "heavy" and "preaches" and also brings the "triangle entanglement".
Kishore Tirumala has the right material that would connect easily to
the young audience, but where they are cheated, is in the scenario. In addition, the situations he wrote as the character of Brahmaji, a corporate man, plotting against him are quite predictable
and mediocre. And the final sequence lacks the desired impact because of its moralistic tone.
What works in the film is the light sequences and the central parts. There is also a good
sequence involving Sai Dharam Tej and his father (played by Posani) which highlights the fact that young people know each other very well and who know how to overcome chess and
breaks.
Chitralahari does not engage us completely but again this is a much better movie among Sai Dharam's recent films.
Sai Dharam Tej has grown, has developed thick
bearded to look different from his usual style. He is neat in this character and has played well. Among the two heroines, it's Nivetha Pethuraj who steals the show. Kalyani is doing very well. The role of Posani is
interesting. The role of Brahmaji is not convincing. Vennela Kishore and Sunil did their part.
Though the tunes sound like some of his old tunes, yet Devi Sri Prasad manages to hold us back
their. Two songs – "Prema Vennela" and "Parugu Parugu" are catchy, while "Prayathname" is situational. Cinematography is brilliant. Karthik Ghattamaneni captured the visuals of the Hyderabad metro
rail corridor and computer well. The separation sequence before the interval is shot quite brilliantly. The production values are rich.
As he had proved in his previous films, director Kishore
Tirumala shines once again in the writing department, especially in the context of relatable dialogues. But his scenario and his direction are largely predictable and full of thrones.
Chitralahari is a pbadable drama that works in places but leaves finally unsatisfactory with its sequences preached and trailed. But turns out to be a better movie among the recent Sai Dharam
movies.
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