The actual test for a successful first-time director happens to be his second attempt. While they preserve their best inputs for the first, the next one has them close to developing a craft in their methods. This is where you try to see if they’re beyond a one-time wonder.
Sudheer Verma, the director of Dohchay, you are tempted to utter, is in a hangover with Swamy Ra Ra, but there’s none denying his ability to fine tune his style with content. It’s a crime comedy again in quest for a larger scale, with the budget and the actor at least. This combination with the content isn’t the best, but, you get a decent bargain.
There’s a wave of tributes as you tread past this. You occasionally hear a Kill-Bill themed ringtone. The film takes off with a Siva reference in a robber’s apartment. The RGV-worship gets more sincere in a matter of time. A mini rewind to Paresh Rawal in Kshana Kshanam strikes.
The lead actor’s birthday is up and a Swati Mutyapu Jhallulalo plays on a radio set. More than the cardboard-like plot in place, Dohchay is more interesting with many more little stretches such as these.
And to top it all, a Brahmanandam is on board for a saviour act. The Kill Bill Pandey in Race Gurram then becomes Tempting Star here. He’s aided by Saptagiri soon. They’re the ones bringing the formulaic touches.
Naga Chaitanya showcases more command over his demeanours than the inconsistent Oka Laila Kosam days. As you expect, the difference is a director, who’s more in control of his purpose. The narrative besides the occasional sparkles apart has a fluffy, cozy exterior.
Kriti Sanon, unlike her rather subtle beginnings, is a talkative do-nothing. She looks a fashion designer’s dream in terms of appearance and well, about the performance, you really know better. The industry, meanwhile, is heading towards an interesting phase of anti-stereotyping. The girl is the one to lit up a cigarette and it’s her man doing the chiding.
The reason that, you can consider Dohchay above a rather decent Bandipotu, is the consistent madness that the latter sorely missed. On the other front, isn’t it more comfortable seeing Chaitanya out-smarting the baddies than say, a more friendly appearing Allari Naresh? The music is trendier and the technique nearly helps accomplish the maker’s modest aims.
If the first hour is for the mortals chasing technique, filmmaking nostalgia, the other is for the ones high-five’ing at staple diets. The director’s show reel is the former and the latter is dedicated to the star, Naga Chaitanya. The viewer gets a good mix of both. If it’s a magnum-opus that you expect though, you’re at the wrong screen. Sudheer Verma, more of the auteur, has arrived into the scene.