Yatra review: Mammootty is an asset for this political film that looks like a docu-drama

At the beginning of Yatra Sucharita (Anasuya Bharadwaj with an impressive cameo) enters the house of YS Rajasekhara Reddy under the watchful eye of the party workers, incredulous and murmured. Then we see it from YSR's point of view. He sits and his majestic presence gives an aura to the house. Director Mahi V Raghav's film takes off from the point where YSR is a force to be reckoned with in his hometown and surrounding area. He has the power to silence the troublemakers, who give way to his vehicle that brings Sucharita home, in a crisis. Ignoring the enmity his father harbored for him, YSR supported Suchitra's candidacy for the by-election.

Yatra is a less biopic film event, putting the # 39 focus on what led to the definition of padayatra that led YSR to become the chief minister in 2004. It is heavy with propaganda and does not hide its intentions. The opening and closing parts are generously adorned with photographs and video footage of the leader. And the team did not do everything possible to make a costume drama, seeking to make all its pivotal actors look like the characters they represent. Ashrita Vemuganti and Suhasini Maniratnam are strangely similar to YSR's wife, Vijayalakshmi, and Sabita Indra Reddy. However, others bring their own characters to the roles. Rao Ramesh as KVP advisor, Ramachandra Rao, shows the utmost restraint. The stage thief, however, is Mammootty. The innate majesty of the actor and his presence on the screen are a considerable advantage for the film. Its Telugu is not bad either and the occasional accent can be neglected. Jagapathi Babu and Nbader appear in clean cameos.

Yatra lasts a little over two hours but it takes time to find his rhythm. The first segment gave the impression of watching yet another biographical film praising a character where the protagonist has no flaws of character and faces no major obstacles. He finds his direction when YSR is at the crossroads. There is not much support from the "party high command" and the "ruling party" continues to play an important role. The turning point is the scene between YSR and KVP one night when they feel it's time to do something or it could mark a slow end to their place in politics. The events that lead to padayatra with YSR wanting to know the realities of the terrain are well described

The padayatra highlights several issues that have changed the course of politics in unified Andhra Pradesh. Yatra directs his ardor towards the "ruling party" of the time (unnamed) that built the city of HITEC and offered concessions to multinational corporations, but ignored the farmers. Farmer suicides, the lack of adequate retirement plans for seniors, neglect of health care are all discussed. Although some scenes are moving, the film acquires the tone of a docu-drama and becomes boring. Sathyan Sooryan's cinematography bathes the frames in shades of dust during the padayatra and its viewing angles give YSR a larger-than-life character. K's music becomes monotonous after a point.

As YSR advances despite the scorching heat and the blisters that stand on it, not only the "ruling party" but also "the high command" must listen. The film manages these delicate situations with humor. Members of the "ruling party" always wear yellow shirts and their leader is never shown. Only once by phone, we hear the leader (Chandrababu Naidu) and the guimaus of the room, recognizing the similarities of tones. Jagan, too, is referenced only by a phone call. The tussle between the "high command" and the hard-nosed YSR is again touched with humor.