When the hero should achieve the impossible, most difficult obstacles just cave in. 'Sahasam' goes a step ahead in that, it takes not just illogical screenplay to a new crescendo (a Pakistani rogue group masquerading as archaeologists, carrying out research to find the clue for the greatest treasure the humankind has ever known, shoot not a single bullet at their enemy in the Land of the Pure), but also parades a few cinematic liberties that we thought are not the stuff of a Yeleti movie.
For a change, a legendary `tatha' (grandpa) is used to neither perk up the career of a film hero nor the fortunes of a political legatee. The unreal Tatha, ever on the lips, in the breathe and footsteps of the super-intelligent central character (Gopichand as a security guard with an exceptional guessing faculty), blesses his grandson with almost everything you can imagine. So much so, once in Pakistan, the gutsy youngster now in search of unprecedentedly humongous treasure turns into a tourist guide for a gun-wielding gang of bearded holy soldiers with the life mission of owning the treasure.
Incredible divine coincidences and historical discoveries help the Tourist Guide at every crucial juncture understandably because the god-like Thata (Suman in a cameo) and God Himself seem to be on the side of our kind-hearted hero and the virtuous land that is Pakistan.
Gopichand is a middle-class youngster, who, despite possessing unequalled IQ skills, believes in luck rather than hardwork. As luck would have it, he learns on a rainy night that his grandpa owned a diamond shop and lost his valuables while running away from a rioting mob at the stroke of the midnight of August 15, 1947.
Somewhere in Pakistan, near Peshawar, the holy gang mentioned above wants to get hold of a big treasure the lock to which they don't have.
Gopichand travels to Pak along with Tapsee Pannu (as a fatalistic-minded girl who believes in the apocalypse before the turn of this decade and thus wants to pay pilgrimage to all Hindu temples), posing himself as a devotee.
Once Gopichand comes to know the importance of an artifact with him, it is a game of one lame chase now, a ridiculous shoot out scene next and a grotesque torture scene last. Thereafter, it doesn't make much sense for the audience to know who needs what and what is the significance of such things as a lock, a box, a bird, the dead archaeologist, the very much alive daughter, and so on.
It is incredible that Chandrasekhar Yeleti, who has made a most intelligent film like 'Anukokunda Oka Roju', believed that a few mysterious arrangements (that must be uncorked to find out the treasure) can inspire awe in the audience.
There is no romantic bonding between the boy and the girl and the inappropriate duet after Gopichand's savior act in the desert simply falls flat.
Together with the technical aspects, it passes muster. The cinematographer has ably captured the locales and Yeleti doubtless relied on the ambience to lend authenticity to his film. It is visually strong and the make-up work is fine. The songs are forgettable and the BG score is ok.
For Gopichand, it is a tailor-made script, for big star would have found a treasure in it. For good or odd reasons, he shines through a weak script. He looked quite energetic in his previous outing with Yeleti, but here we find him emoting one or two expressions repetitiously.
Shakti Kapoor is the second hero and he does his job with aplomb. His look is authentic. Tapsee disappoints in a weak role and for good part, she is just a glam doll. Ali tries hard to evoke a few laughs and vanishes without overstaying his welcome.
The dialogue is the film's weakest link. The CG work scrapes through.
Verdict: With a formulaic film and a few stolen ideas, there is nothing in 'Sahasam' that you can call a feat.
Rating: 2.75 / 5
