Jil Review

When a fire-fighter is introduced as a 'Man of Fire' through an ode in the form of a Dookudu-fied song, only to be seen having a copy of APJ Abdul Kalam's 'Wings of Fire' in his reading room (in a seemingly upscale flat, mind it), you get a feeling that you are in for not-so-intelligent stuff.  However, debutante Radha Krishna proves our worst fears to be wrong when his film turns out to be a watchable slick action-rom-com fare which does away with raucous narration and force-fit comedy.  The situational comedy aside, all the stylish songs present an otherwise run-of-the-mill Gopichand as a star who can't be wished away.

Jay (Gopichand) has his way - whether it comes to getting a builder agree to sign on the dotted line or saving a girl from leaping to death.  Urvashi and Chalapathi Rao are his guardians, Avasarala Srinivas is his friend, his favourite past time is spending time having chai at his adda - a cafe.  When he saves Savitri (Rashi Khanna), a naughty girl whose tantrum misfires, the latter falls for him and they strike a sizzling chemistry, punctuated with two songs.

Nayak (Kabir) is a dreaded mafia don on the prowl.  He has escaped from the custody of the police (the film opens with this well-choreographed sequence) and is hunting for Ranganath (Brahmaji).  Ranganath had backstabbed him and nabbing him is a matter of survival for Nayak.  It is Jay's unplanned, accidental tryst with Ranganath that changes the destiny of Nayak.

Radha Krishna does a fine job of narrating how a ruthless don is brought down to his knees by an ordinary man. To Jay, it is only a matter of saving a person in danger, but he doesn't realize that the fate of Nayak is tied to all that and that the fire-fighter himself could come under Nayak's fire.

Till the interval bang, there is not much going in terms of the plot.  If one doesn't complain despite all the lack of substance, it is because the proceedings are light-veined and stylized, especially in the presence of Rashi Khanna.  Gopichand doesn't get to talk much, but he does (like this one: I go closer to death everyday) to the don he never knew about, he raises our by-now lowered expectations.

The second half gets a semblance of a plot when the don strikes back and Jay has no option but to race against time.  It's good that an as-old-as-the-hills idea like putting the hero's beloved ones in danger is executed with a dash of creativity.

However, the momentum is momentary as the plot gives away to some comedy involving Posani Krishna Murali and Prabhas Sreenu but that is hardly redeeming.  Then there is a cop on the prowl and when his D-Day comes, he arrives with just one more assistant to nab the don!

Minor flaws notwithstanding, the film makes sense because you at least don't ask why a multi-millionaire don with the most advanced goondas can't use a gun.

At this juncture, Gopichand could not have asked for a better film.  Slick action and minimal dialogue, snazzy songs, trendy make-up and a heroine who sizzles opposite him - Gopichand has it all.  It can't be said that the film belongs to him, though.  Rashi Khanna gets a glamorous role and that's it.  After 'Oohalu Gusa Gusa Lade', one feels she has not got the right dubbing for herself.  Kabir is apt in the role of a macabre don and he delivers without having to shout at the top of his lungs.

Mohammad Gibran does a rip-off of his 'Run Raja Run' here and there but overall it's a good output.  The cinematography is the best part - the scenes are bathed in Sun and add splendour to the locales around.

Verdict: An action film that passes muster.  Once watchable with no great expectations.  Good visuals, glossy action, voguish (although Bollywoodish) songs are the pluses.  Story-wise, it falls flat.

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