Only deceives your expectations – Mosagallaku Mosagadu Review


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.


Just there, almost- Dohchay Review


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.