These are times when actors apparently consider the needs of the movie-watching audience more seriously than needed. It’s a near telepathy they practice, but one that hardly works. This is a surprising situation, considering actors such as Sudheer Babu, barely five-film old, who are yet to really find their homeground and trying to be such potential-star materials. What’s the hurry here? At a time, when there’s no burden of carrying an image across and pleasing audiences in terms of categories, why can’t it be an advantage to dabble in something that’s non-generic? Even if Nelluri Bose’s Mosagallaku Mosagadu isn’t a cringing experience overall, there are too many liberties taken to tap the star in him, restlessly screaming for screen-space.
The film initially gives you enough hints that it’s the makers of Swamy Ra Ra trying their hand at a similar product placed in a different context. There’s a 12th-century heavenly idol of great worth and a bunch of goons targeting it. On the other hand, some light is thrown on the yesteryear film with the same name too. The lead character’s name here is Krishna. When he masquerades as a cop in his introductory sequence and says ‘Poliiiiis’ with an apparent tone, he suggests that’s an influence of his ‘Baava’ (suggesting Mahesh Babu), when asked by a friend.
The problem with the film is the scale at which it tries to mount its intentions. It almost makes a self-mockery of the happenings in an attempt to induce slapstick comedy, which otherwise could have been a smart-con drama, at least on the lines of Dongaata that released the other week.
But soon, you realise Bose is better at inducing the ‘masala’ doings into the script than the wit of a caper. He brings in a series of enjoyable instances, especially the ones involving JP and his assistant as the former doesn’t overdo his accent this time around. Saptagiri, trying to be a poor-man’s Santhanam here provides a good bit of laughter too. For manufacturing more laughs, there’s gay-comedy as well and for once, its target-audience wasn’t quite understandable.
There’s an uninspired romantic track with actors who even struggle to blush themselves. The issue here again is the wannabe-star. A dream-sequence awaits him just when the film starts taking the right turns. It feels an opportunity being killed. Sadly for all the conning that happens, the film tries to paint a picture that it’s done for a bigger social purpose, something that Ravi Teja’s Kick too desperately tried to sell. The actor wants a show-reel, the director wants to package a bit of everything and the result is equally ambiguous. Maybe, the special appearance didn’t seem a bad trick at all. That felt being conned for once.