Friday 24 December 2010
Nagarjuna, Anushka, Priyamani, Brahmanandam, Pradeep Rawat, Kota Srinivas Rao
Akkineni Nagarjuna stole the limelight when he entered the sets of the film Ragada, with such a mass title, having crossed 50. Coming as the swansong of the year 2010, the film evoked mixed response among the audiences on the lines of his previous films Don and King. Let us see, what the film has to spare for Nag and is it really worth the bucks for the audiences out on the New Year hungama.
Set in the backdrop of the low-rung mafia in Hyderabad, Satya (Nagarjuna), whose whereabouts are maintained a secret, happens to win the confidence of a goon GK (Dev Gill), whose love interest is Sirisha (Sirisha). Coming as an expected twist, Sirisha falls in love with Satya, who in turn encounters another ravishing girl Ashata Lakshmi (Priyamani), after rescuing her from baddies. Like a Telugu movie of the 70s, the hero is caught between two girls. Naturally, the confidence of GK in Satya is shaken, followed by sudden spurt of troubles for the hero from the enemies of Ashta Lakshmi. How Satya cuts through the deal? It forms the rest of the story.
Despite in his 50s, Nagarjuna rocked in several scenes, particularly the romantic ones, apart from giving a wholesome entertainment in stunts and comedy. Tall, luring and tumultuous expressions; Anushka came out with a feast to the eyes of her fans, though she doesn?t really have any prominent role to play from the point of view of characterization.
Priyamani could give a tough fight to her colleague Anushka in terms of glamour and beauty. Brahmanandam as usual makes his presence felt and contributes to the comedy department in a significant manner, but due to lack of punch in the second half, his characterization slowly loses its importance. Heavy presence of baddies Pradeep Rawat, Dev Gill, Supreeth, Kota Srinivasa Rao and Shravan could not bring seriousness to the film.
Showing the villainy factor in the comical light has weakened the entertainment quotient. Charmme?s presence comes as a soother with sensuous appeal. Dharmavarapu and Master Barath have done their part well, ticking the aesthetic sense of the crowds.
The script lacked originality and one would surely feel that though Nag did dynamic acting, this kind of a thing was an oddity to him. Screenplay is clumsy in parts. The first half runs at a brisk pace, with a sudden drop in the second half. Songs are entertaining, coupled with a mass appeal, but at the same time they come as speed breakers.
Music is good in parts. Editing is abrupt at several points. Dialogues are interesting from the start to finish, while at some stretches they are exposed to deliberateness.
The movie might catch the attention of the non-serious audiences, while it has the strength to enthuse the hardcore Nag fans. Its future depends on the ensuing Sankranthi releases.