Can you think of ramp-walk fashion shows? It will full of glamour, gloss and glitz. It will floor you with its sweeping style and incandescent appeal. But what relevance or what content will you carry from a show? And what purpose will it all serve? These are difficult questions. You end up as king the same questions after watching Nagarjuna's Super.
The film sweeps you off your feet with its style, chutzpah and nonchalance. Nagarjuna, the producer, has brooked at no expense as you get a product that is technically first rate and appealingly extravagant. In a sense, the film is like a show-off pony --- all about looks and style. And the climax, shot eye-bogglingly in Goa, lifts the film to new heights.
The film is about 'Peter Pannish' friends who end up as rivals. Akhil (Nagarjuna) and Sonu (Sonu) are the two buddies turned enemies. Akhi, an automobile freak running a garage of sorts, is in love with Sri Valli (Ayehsa Takia). But she goes to her foster brother Sonu's place after her father's death.
It is told in a flashback that Akhil and Sonu had fallen out because the latter feels that his blood sister Sasha (Anushka) killed herself because Akhil spurned her love. The truth is something else obviously. There is a notorious group behind Sasha's death. In the nick of time, truth is out and after much bloodbath and fights, all is well that ends well.
The story is thin on substance, but it compensates it with lot of panache. And when you talk of panache and poise, Nagarjuna just oozes them. In a cool trendy hairstyle, Nag just romps through elegantly. Be it is as a stud-like lover or a baddie-bashing toughie, he fits the bill perfectly.
The two girls, Ayesha and Anushka, are cool and chic. Their angles and curves provide all the glamour and keep you engrossed. What about their acting? Well, they are in this film for it. Sonu Sood has a very good role and he has grabbed the chance with both the hands. Brahmanandam and Ali provide moments for guffaws.
The film is technically gritty and full of spunk. The action sequences, especially the rousing sequences shot in Goa, are worthy of Hollywood. The camera work of Shyam K Naidu is classy and stylish. He provides the film with the right feel and fervor.
So does Sandeep Chowtha, the music director. The songs bespeak the essential idiom of the film. His re-recording is agreeably brassy. The action sequences of Alla Amin Ghani deserve special mention and Nagarjuna has outdone himself with painstaking efforts.
But having decided style over substance, Puri Jaganandh, who is in charge of story screenplay and direction, has executed the individual scenes very well. But he seems to have slipped while stitching them together in a taut tapestry.
The film combines Dhoom and Josh in equal measure. The director could have gone easy on the double meaning dialogues.
On the whole, it is veritable visual treat and show of style.