Oh my friend:
It could have well been a defining
moment in cinema: Dealing with a platonic relationship between a guy and a gal
who refuse to believe that a physical relationship is imperative in a
relationship between them. Remember Gulzar saab’s lyrical caution: Pyar ko pyar
hi rehne do , ise rishton ka ilzaam na do. Unfortunately, it peters into a
routine Telugu picture full of clichés, predictable situations and formulistic
treatment. The result is a consequence of concern not so much in the context of
this Dil Raj- Sid combination as it is about how our cinema refuses to grow up
and bring a degree of artistic validity to cinema. Things of great interest are
happening elsewhere. We seem to quarantine our selves.
The narration starts of on the wrong key. You have this calf hate story of the
two developing unhealthy intolerance to each other. Chandu and Siri however
soon see the hate replaced with love. Chandu (Sidharth) and Siri (Shruti) are
now great pals who rely heavily on each other for their emotional moorings.
They are fun loving and share a great bonding. They are however not ‘in love’
in the conventional understanding of the usage.
Siri is engaged to Uday (Navadeep) and Chandu is smitten by Ritu (Hansika
Motwani) . So there is no room to believe that some where in the labyrinths of
their emotions they are running into the predictable mechanics of romance.
After a long spell of rejections, including by his dad ( Tanekella Bharani)
Chandu gets an offer that is going to make him rich and famous. The foursome
leave on this trip to Kerala . Things begin to fall apart. Uday and Ritu feel
suffocated in the relationship between the friends. They feel robbed of their place
and space. It is a great opportunity to see this conflict either at the level
of internalised deprivation or a failure to see life beyond the routine or even
to visualise the challenge as simply an ego hassle. To add to the challenge is
to let each of the principle players see it and approach it differently and
examine the conflict thereof. None of these multiple challenges is even
perceived by the debutant Director Venu Sriram.
Interestingly the film gives the youth their due and does not deal very much
with them from stations of superiority. At one stage the dad also concedes that
they have seen things in a better perspective than the earlier generation has.
The script also does away with a comedy track except for a very brief
appearance by Ali ( his usual self). It is a strength in our cinema. Each
cinema has its own strengths and weakness. For some strange reason we seem
eager to give up our strengths before we erase our weak spots. Both Navadeep
and Hansika deliver cardboard expressions. They inherit a script that leaves
them with little. They swallow it with promptitude and do nothing to energise
their presence. Hansika –true to her name has put on too much weight and can be
seen as a study in contrast to Shruti Hasan. Shruti has great screen presence
and carries herself with a lot of confidence. With 7th Sense and now this film,
I hope we get to see more of this actress. Sid has a role written for him and
is too intelligent to let go the opportunity. He has also matured as an actor.
Unlike in Bomarillu in the climax, he holds his own this time and gives the
dialogues the punch that is called for.
L.Ravichander.