Critic's Rating: 17/5
Friday 28 May 2010
Gopichand, Priyamani, Roja, Nazer, Kelly, MS Narayana
Though the film has the Puri mark characterization, comedy and dialogues, all the department had collectively belied the success line, coupled with unimpressive songs and music with artificial moorings of the script often.
Gangaram (Gopichand) is an orphan whose burning ambition is to become a policeman. Working as a labourer in a hotel, he realizes his dream. His boss (Nassar) gets attracted to the dare of the hero, and immediately promotes him as ?Encounter specialist.?
The city (Hyderabad) is under fire due to the gang war between two baddies ? Talwa and Khalid. As and when Gangaram gets into the shoes of the encounter specialist, he swoops on the mission to eliminate the gangsters. This helps him obtain gigantic media publicity. It invariably brings him enemies in his own department as they are jealous of the publicity.
How the internal moles troubled the sharpshooter and how he taught them a fitting lesson would form the crux of the movie. Making a pass, the story also has a vital link ? what brings Pavitra (Priyamani), who hates men, closer to Gangaram. Prior to that what is the relation between the heroine?s mother (Roja) and Gangaram? The director seems to have thought that this might serve as the suspense factor.
Gopichand as usual brought justice to his characterization as an encounter specialist. Many a time, Puri Jagan said that the character was influenced by the real life shooter Dayanayak. Whether the screen role matched the stamina of the realistic character has to be judged by the audience.
Priyamani?s character sounds funny without any consistency. Those who donned the roles of villains lacks nativity in a city like Hyderabad, which is more dogged by the terrorists than the mafia. Roja?s so-called vengeful comeback in this film does not click. The audiences feel that Puri is yet to come out of the Pokiri hangover in chiselling the characters.
The story is farfetched from the ground realities in Hyderabad. Most important, the encounter specialist theme is not a novel one to the Tollywood audience. Unlike other films of the director, with separate comedy track, there is an intermingling of the comedy, which is weak. Editing is crisp. Dialogues are not effective. Songs are not impressive. Music by Chakri is mediocre. Stunts are a saving grace, but not without violence.
Above all, Golimaar unleashes a feel among the audience that the gap between the thoughts of Puri Jagan and their reach with the spectators is widening with each film.