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Brahmotsavam Review

Review by IndiaGlitz [ Friday, May 20, 2016 • Malayalam ]
Brahmotsavam Review
Mahesh Babu, Kajal Aggarwal, Samantha Ruth Prabhu, Pranitha Subhash, Sathya Raj, Revathi, Jayasudha and Rao Ramesh
Sreekanth Addala
Pearl V.Potluri , Mahesh Babu
Micky J Mayer

There is this irony called Mahesh Babu (his character has no specific name, but he is allegorically Tirumala Srinivasudu) who claims to not think too much, but who puts up loaded stares one too many times.  Such is the wittiness of Srikanth Addala's narration.  In this one-half-of-an-idea-thanklessly-stretched-into-a-modestly-over-indulgent-feature-film called 'Brahmotsavam', there is this heroine who asks the guy what if she gets excited in the presence of this ever-smiling hunk during a night's outing.  Later, they take a stroll down a CG-enabled Vijayawada barrage, only to creatively talk about updations in the mentalities of boys and girls of today's generation.

Sathyaraj plays a rich businessman whose 'dharma' in life is to celebrate with everyone.  His faithful son, played by Mahesh, doesn't waste an 'avakasham' to break into a dance. One of Sathyaraj's 'bavamaridis', played by Rao Ramesh, has been suffering from ego problem owing to Sathyaraj's status and he, and his wife (Jayasudha) having to be in a subordinate relationship to Sathyaraj.

The entry of Kashi Annapurna (played by Kajal Aggarwal) into Mahesh's life results in a platonic relationship between the two.  Rao Ramesh's wish to seek a marriage alliance of his daughter (Pranitha Subhash) with Mahesh is now threatened.  The long-frustrated 'bavamaridi' questions the 'Brahmotsavam' consensus.

Now comes a point when Sathyaraj's 'dharma' is threatened by this apostate and Sathyaraj is shaken, stirred and more.  The son, who never told his father that he is his life, tells this much and goes on a mission.

See, 'Brahmotsavam' is all about celebrating 'suttam', 'beerakai suttam' and beyond!  The large-hearted dad (his diary has this miraculous power to double up as a Gita-like guide to a family member with Arjuna-esque questions in her mind!), who has earned too much and who too doesn't think much, remembers the names of his daughter's friends.  Well, in real life, only schizophrenia can ensure this kind of recall power!

To be sure, one single point is iterated, re-iterated, re-re-iterated, so on and so forth.  The good, charming, rich son with lots of time at his disposal goes on an itinerary with Samantha, a contrast to the modern-minded Kajal Aggarwal.

It bears testimony to Addala's intriguing narration that one heroine is planted a kiss by the hero, while the other heroine plans a kiss on the hero - both at an inflection point in their lives.  The playful duels involving two sides of bride and groom is another example of witty narration, however high-class it might seem.    

In this film full of rich characters (in contrast to the middle-class SVSC family members), Addala's ability to capture the thinking of an average middle-class person comes through via Rao Ramesh's character.

Addala's characters are hardly straightforward in their talking and this is how he peps up otherwise insubstantial scenes.

Since 'Brahmotsavam' is a case of oft-repeated sentiment over substance, there comes a point where the audience feels the smart lines are showy.  How many of the songs really had a situation going for them?  It works to not have a situation when the hero is breaking into a song first time, but otherwise, songs do need some heft.

Whether or not it's the most commercial aspect of the film, Mahesh falling in love with two girls in a record short time is the most exciting element.  It's his sheer luck that he has a 'maradalu' who thinks like a philosophical character straight out of a novel espousing determinism: all world is a stage and we are spectators...  This character makes the things easy for our hero, besides averting the story from taking a beaten track.

Just as 'SVSC', this one too has a climax not climactic enough.  Characters re-affirm their convictions one more time and the audience are expected to have an orgasm.  Well, not again!

In film after film with strong convictions, we see a character or two appearing in the midst of proceedings to mirror our views (or rather frustrations in some cases).  Vennela Kishore takes up this responsibility here.  Mahesh doesn't know what to address Nasser as and it's understandable.  The visit to Haridwar and Kashi is a good advertisement to Incredible India, mind it.

Rohini Hattangadi appears in a short but good role.  Mukesh Rishi, Gollapudi, Posani Krishna Murali and Saranya make their presence felt for the brief time they are seen on the screen.  Sayaji Shinde, Naresh, Krishna Bhagawan are just about OK.  Rao Ramesh moves the story forward with his decisions.  He being lectured by his late father (Rao Gopal Rao appears as an animated ghost) could have been entertaining.

Mahesh Babu's performance is the biggest pillar of the film.  He acts meticulously and earnestly.  The interval scene with his father is an example of his fabulous act. His slang and dialogue-delivery are apt. He slips into the role effortlessly.  One feels the dance choreography should have been much better.

Between Kajal and Samantha, the latter takes the cake.  Kajal looks gorgeous and plays the role of a modern woman who experiments with aplomb.  But right from the word go, Samantha is brilliant in her body language.  She is confident and wears that innocent expression apt for her character.  Pranitha looks vivacious and that's all.  She has no much scope to perform, once again.

Among the rest, Rao Ramesh is given an author-backed role.  Sathyaraj plays his role with panache.  He is convincing as love and dignity personified.  Watch him wear that forlorn expression, made grim by the stubble.  Jayasudha gives out one or two nice expressions.  Revathi is good.

Thota Tharani's art work is a huge asset all through.  The visuals are stunning and rich.  Rathnavelu's cinematography captures the art director's work as well as the beautiful faces quite well.  Gopi Sundar's BGM is deft and enlivening.  On the flip side, Mickey J Meyer's songs merely pass muster.  The CG work is natural and is well-integrated with the reality.

Verdict: A film that drives home the message that relationships must be celebrated.  Only that the idea is stretched into a feature film.  Draw you conclusions.  Slow pace hurts.  Is Mahesh is out to impress the family audience?  Wait and watch!

Rating: 3.00 / 5.0


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