What happens when a biggie like “OOSARAVELLI” is closely released on the heels of a monstrous blockbuster like “Dookudu” which entertained the audience like no other in recent times and still in demand? Well, comparisons are bound to soar especially, since the makers have taken the stakes higher by making it the biggest release and secondly the entertainment quotient will come into reckoning and finally what satiates the audience is the story. Does OOSARAVELLI meet the expectations, comaparisons and also satisfy the audience? The answer would be Yes and No. Let us examine what this NTR starrer has in store for us to ponder over.
Tony (NTR) is a youngster who does freelance thrashing jobs. He is in love with Neeharika (Tamanna) who is a fashion-design student and follows her through Kashmir to Hyderabad. Once in the Hyderabad, he learns that she is engaged to a Minister’s (Bharani) son and is going to get married. He manages to get Neeharika’s attention and breaks the engagement. But Tony does not stop at breaking the couple, he kills off the guy, his father and a dreaded underworld don, Irfan and announces that he has taken a supari to kill them all. He coolly tells that his next target was the Dubai-based Don, Azzu Bhai (Prakash Raj).
Who is Tony? Why does he kill all the underworld dons and other politicians? Who gave him the supari to kill them all and why did he befriend Neeharika in the first place, forms the remaining part of the story.
OOSARAVELLI is unlike any NTR film and if we can say this, unlike any Telugu film of recent times which has the protagonist at the centre of everything. It is an attempt at good cinema which the director, Surendar Reddy attempts to tell a story, which these days is a rarity in Telugu cinema, and fairly succeeds in it. He steers clear of any unneccessary scenes and cuts down the flab of the movie by not having any comedy track. Mind you there is no Brahmanandam in the film, which itself is a rarity these days. Whatever the humor is there, the comic dosage is adequate, is also within the story and not above the story. The screenplay of the film has been designed in such a way that all the characters have ample scope to perform and are all important in some way or the other. The way Surendar dealt with the flashback episode was commendable as heart goes out for the characters on screen. The screenplay has worth to be mentioned as every scene in the movie is part of the movie and is not away from it.
On the flip side, the story is too long and sometimes appears to be dreary though it was all neccessary. The way Surendar developed the character of Tony is good and the conflicts which the hero has good drama in it. But sadly, this drama comes in a bit late. There are some logical loopholes in the construction of the story which the director took an easy way out. For example, why does Chitra (Payal Ghosh) accept a stranger as a best friend? It appears all too convenient. Also in the pre-climax, how did NTR reach Chitra’s house and how does Tamanna knows of his hostage place? These are some issues which Surendar did not provide enough clues for the audience to satiate themselves.
Coming to the performances, NTR did his best as a man of many colours. He has great acting skills and provided the director with many variations to choose from. He suited to the character and credit must be given to NTR for not making the film rotate around him as at certain point, his presence is absent for a good 10-15 minutes. A laudable effort from him. A word of caution to NTR with regards to his styling wouldn’t be out-of-place either.
One actor who leaves a lasting impression in the film is Tamanna. She worked hard for this author-backed role and gave a commendable performance while appearing eye-candy. She shows subtle variations in certain sequences of flashback, that the audience would sure appreciate her act.
The main villain of the film, Prakash Raj makes a delayed entry into the film though he manages to leave a good impact. The rest of the cast did their parts well enough. Sayaji Shinde, Payal Ghosh, Bharani, Murali Sharma and Ajay do well in their roles. A word of appreciation must be given to the gang of Jaya Prakash Reddy and Raghu Babu who bring the whole house down with their humour. Don’t miss the fun of ridiculing the hits of RGV.
The technical departments have done tremendous jobs with Rasool Ellore hogging the limelight with his cinematography. Rasool work in “bratakali” song stands out and makes it a visual marvel. Devi Sri Prasad’s music is good and his background score is also adequate. R Ravinder’s art revels at places. The choreography of “bhaje anjaneyam” too deserves a mention. Rest of all the departments did their jobs to the fullest.
Finally, in one word OOSARAVELLI, is an attempt to create good cinema and an effort to tell a story rather than package the Stars in it. A commendable effort which can be watched. Go without expectations and chances are that you might love the movie.