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It's not rocket science to understand that the public wants to spend time with Samantha's character, whose entire backstory was told in one song, one second.
Once upon a time there was Poorna (Naga Chaitanya) who, we were led to believe (a little unconvincing), is an extremely talented cricketer. Anshu (Divyansha Kaushik) falls in love with him, despite the economic disparity between the two families. Poorna being the son of an employee of the middle clbad railways (Rao Ramesh) and Anshu, the pampered daughter of a Navy officer (no special attention to detail). a future mother-in-law telling with a lost budget camera that a family celebrating birthday parties on cruise ships is just getting married.
Once again, this is the case of the public trying to imagine and accept that there was a spark (barely perceptible) while the love that blossoms between the two young people reveals a little too far-fetched. Writing does not create enough magical moments to justify a love story that can change a young man for life. Things take an ugly turn and star-stricken lovers wear pieces of their torn love while they are separated for all the cliché reasons we know well – the usual envious men who watch the girl, the fights, the family interfering, getting married the girl is far away, blah blah.
Enter Samantha as Sravani, Poorna's wife. Formerly close to Poorna, Sravani has long loved him and decides to bear the burden of his dark, alcoholic and miserable self. Poorna is too lost to care about the mockery of the world, her parents-in-law and the impolite men of the pubs and bars he frequents to drink all the glory. The film makes sense in the second half as a very talented teenager (we are made to believe) enters Poorna's life. The story then abruptly ends abruptly as we see how transformations can occur in a few weeks.
Shiva Nirvana's film was bound to attract attention, given the main pair and their fairytale love story. His Ninnu Kori met the expectations of Majili . But, Majili suffers from an inefficient editing and lack of minutia that a character-based script deserves. A broken heart can turn someone into an alcoholic. A girl could marry an alcoholic who was his only love. A teenager can turn a person into a more responsible person. But in a story, such reflections related to the character require patience, investment, events and dialogues.
While Rao Ramesh looks great in his role as a frustrated and unhappy father, the only person who seemed convincingly strong in the film is Samantha. Samantha, capable of emitting beautiful emotions, now has the screen, body language and eyes in tune with her character, that of someone who only wants recognition from the man she cares so much . Over the years, she has perfected her timing by keeping almost the pieces of script that were separating around her, which gives the whole a coherence. She is about to become one of the best actors in the South, able to lead the series if she is allowed to do so in the first place.
The biggest flaw of the film is not to recognize who is his main character, who is his main character. chief protagonist is. It's not Anshu, it's not the kid who goes into Poorna's life and brings back his past, nor Poorna himself. It's Sravani. Unfortunately, the film does not invest enough in Sravani, even though it presents the most important point of reflection at the end. Before the audience can comprehend the enormity of Sravani's sorrow, attention turns once again to Poorna and her love, which is as dull as the electoral manifesto of hyper-promising parties. These editing decisions cost Majili the magic that history could have woven. Instead of being a powerful story of unrequited love that stands out, the movie is usually a bloody story that suddenly decides to wake up and ends before you can make the change.
Many movies have used subplots. build / develop a chemistry between the main pair in a movie where it does not exist initially. Super Deluxe for example, to take a recent example, build this chemistry with a corpse around. And yet, Majili fails to do so despite all his efforts, for the simple reason that the closing of the story was wrongly chosen. Poorna could be the heartbroken guy, but investing so much time in her teenage love story and in building pain in her heart was a time that could have been well used. It's not hard to understand that the public wants to spend time with the character of Sravani, whose entire backstory was told in one song, one second. The audience enjoyed every moment of her, including her subtle but mischievous chemistry with her stepfather.
And is it too much to ask filmmakers to give trained spectators well trained cricketers, if history intends to use the sport? as pivot? The director does not tell us that the hero can hit more than a hundred points in 36 balls without having to bat the right side? Can not we grow up already!
Majili tells the wiki page of the film, is a part of the trip. The film lives up to this title by breaking your heart because it ends just as it begins to resonate emotionally. This emotional gap can largely be attributed to the decision to turn a potentially insightful love story into two half-baked love stories without writing the main character who can stand it. to have sore ears and to help you tolerate the slowest and most predictable elements of the film. Cinematography capturing the port and the neighborhoods of the sea and the railways, with shades much darker, is also commendable. If the film had offered a dialogue that corresponded to Samantha's reluctant fluence, it could have been a lot more.
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