The discouraging foot falls is a proper reflection on the quality of the
film. With two and half hours stretching ahead of the viewer, resignation is
advisedly an early sentiment. With a long calf love story for an intro and the
narrator giving you clichéd one liners it is clear that this is going to be yet
another yawn filled formulistic outing. Given that Tollywood builds its heroes
to unbelievable scripts and the larger than life characters heroics is now
predictable and common place. You are no longer impressed with the heroics you
just gape in disbelief. Some stars have the glitter to take it and give you a
near make believe with some others you see the guffaw and wonder what next,
It is so boring to see these multi-faceted heroes sing, dance, beat up goons,
fall in love superbly strategize, defy all laws of human physiology, display
dare, woo to succeed and do the impossible. The formula is getting so crass
that it is a poor reflection on audience intelligence to make such packages and
market them with hope and aggression. Why would a person with a modicum of
sanity be ‘entertained’ by such contrived tale and storytelling style? Also why
would one travel into such a laborious violent love story in the name of
amusement? Some can sure part with their wealth with ease. The result is
Doosukelta.
This love story emanates in a village where the adventurous Chinna falls for
Alekhya. The latter is a child of a runaway marriage of her father Surendra
(Rao Ramesh) the son of a feudal lord Pitcheshwar Rao (Kota). After a nerve
wrecking childhood love story we have aspiring journalist Chinna (Vishnu) and
medico Alekhya (Lavanya) being struck by cupid. There is a parallel love story
between Veera Bramham (Brahmanandam) and Dr. Sandhya (Hema). While Sandhya is a
tough-nut, Alekhya is the girl with a heart of gold and naivety personified. A
member from the feudal family has since moved to the city and has become
Minister Dilleshwar Rao (Pankaj Tripathi). For a short while we also have a doctor
suitor loitering in and out of the script. All and sundry and more meet up at
the palatial mansion of the aging Pitcheshwar Rao. Reels of romance, vendetta
and palace intrigue are unleashed on predictable lines. In fact the narration
is near template based. The film-maker chooses from his multiple choice
alternatives and brews an insipid dish that is stale from the start.
The scenes are so boringly predictable that you can foresee everything that is
going to happen and wish it did not. This factory product is typical of being a
mass production produce designed for large scale consumption and not a piece of
art or even piece of desirable cinema.
Veteran actors including Kota make signature presence. Lavanya brushes of the
magic of Andala Rakshashi and slips with tragic ease into the stereotype now
western, now half-saree Telugu village belle. She makes the commercial
compromises and is out to do the normal. Hema has a role worth talking about
and having lost weight adds the right glamour quotient to her role and is among
the better performers in the film. The usual comic team of Ali, Raghu Babu,
Master Bharat, Giri, Potti Venu etc., just are space fillers. Manchu Vishnu
makes a great effort to enliven the film. It is an effort worth noticing but
ends up aping Hrithik Roshan. The one point reference for the film will however
be Brahmanandam. He too takes time to warm up but once in his element, he is
the singular factor that keeps you from dosing off. Doosukelta is all about
rush and lack of discretion. It is about angels fearing to tread where others
rush