Nanna Nenu Naa Boyfriends Review
'Nanna Nenu Naa Boyfriends' hits the screens today. Here is our review:
Paddu (Hebbah Patel) is much-doted daughter of Rao Ramesh, a respected elder both at home and in the town. While the father can't think of anyone/anything hurting his pampered daughter, he won't stop her from indulging in her likes, however risky they might be.
When Paddu moves to Hyderabad after Engineering (which she doesn't known she has failed, as her father keeps it a secret lest she is saddened), the playful person in her takes the front seat. She now wants to have all the fun while she zeroes in on her Mr. Right from among three eligible bachelors: Gokul (Noel as a wannabe badminton champ), Nani (Ashwin as a wannabe cop who can't stand anyone lying) and Namo (Parvatesam as a temple priest).
Paddu's mission lands in trouble when all the three guys fall in love with her rather intensely.
Who among these three will she finally live with for the rest of life? What does she learn about herself in the process? What is the role of her father here? That forms the climax.
Debutante director Bhaskar Bandi (a VV Vinayak protege) has a subject that lends itself to a lot of emotional content, but given the pulls and pressures of Telugu cinema, he over-indulges the fun and the quirks while committing a flaw with respect to Paddu's characterization.
Gokul as a philanderer, Narendra Mohan Sastry (Namo) as a stereotypical priest and Nani as a trainee cop, all of whom are fooled around by Paddu, spawns several fun situations in the first half. Although Dhanraj and Co are a let down, the episodes are overall good.
It's the second half which starts faltering mainly because the setting is the same and the cheat game is more of the same. The scenes where the three lover boys are taken for a ride by Paddu and her friend (Tejaswi Madivada emotes more tension than even the one in trouble) are sub-standard.
The 'antyakshari' episode involving the main characters, Shakalaka Shankar and Chammak Chandra, is more of a hangover than creativity.
When one of the guys makes a sacrifice (revealing what it is wouldn't be fair), the girl could have not put the same test to the other two guys, especially because chances of they doing a similar sacrifice are more. It's commonsense. Only a programmed robot would execute the same code thrice even after the first code resulted in disaster.
The director was unduly influenced by Hebbah's character in 'Kumari 21F'. Had her characterization been on the lines of Genelia's from 'Bommarillu', the audience would have sympathized with her. When she was consciously doing something silly, how can anyone agree with her in the climax?
So, when Paddu rationalizes her behaviour in the climax, she comes across as an incorrigible imbecile. And what is the difference between 'preminchadam' and 'manusulo unnavadini pelli chesukovadam', for God's sake?
Prasanna Kumar's dialogues are good. Visually, it's a nice output. Sekhar Chandra's music is
The director has succeeded in extracting decent performances. Hebbah looks good and acts with a lot of ease. She is also convincing in the sentimental scenes. Parvateesam has a lot of potential. Noel and Ashwin are OK. Rao Ramesh has always been a pleasure to watch whenever he loves his daughter, be it in 'Lakshmi Raave Maa Intiki' or here.
'NNNB' throws up a lot of humour in the first half, only to lose both pace and way in the second half. The flawed characterization of the female lead's character is a grave error.