Ram Gopal Varma’s ‘Konda’ is one more movie the place his experimental methods lead to a weird end result
When Ram Gopal Varma burst into Telugu cinema within the late Eighties after which made inroads into Hindi cinema, he redefined the then prevalent strategies of filmmaking. His unconventional storytelling methods impressed a legion of aspiring filmmakers. Lately although, a lot of his movies have ended up as experiments gone fallacious. His new Telugu movie Konda, impressed by a chapter within the lives of politician couple Konda Murali and Konda Surekha, is one more weird experiment.
Stepping again into the Eighties and Nineteen Nineties when sociopolitics of Warangal and close by areas have been interconnected with the Naxal motion, RGV traces the journey of Konda Murali and Surekha from their faculty years till they enter politics. Thrigun, previously generally known as Arun Adith, portrays Konda Murali and Irra Mor is solid as Surekha. Prashant Karthi dons the a part of Naxal chief RK, who was a detailed aide of Konda Murali.
Konda Murali is portrayed as an offended younger man who takes on wrongdoers and beats them to a pulp. It doesn’t take lengthy earlier than Surekha takes a shine to him, because of his machismo on campus. In RGV’s world of Konda, there may be little or no room for characters with out spunk. As Surekha, Irra Mor wears her coronary heart on her sleeve, be it in a university fest or thereafter when she manoeuvers Murali out of difficult conditions. Tulasi as Murali’s mom is made to behave in a peculiar method. In an early scene, she asks Murali to depart behind his cinematic anger. How does one outline her anger although? Fairly than coming throughout as a brave mom, she is made to behave like she is a part of a horror story by which you can’t guess her subsequent transfer.
Forged: Thrigun, Irra Mor, Prudhvi
Course: Ram Gopal Varma
Music: DSR Balaji
Progressively, the sound design and cinematography transfer into the horror film zone, unmindful that the story is a political drama, making all of it unintentionally hilarious.
In a single scene, Murali and Surekha ask a personality to depart his little little one of their care whereas he’s on a mission to settle scores. The lady little one is of their care, and a stunt sequence performs out elsewhere. The background rating amps up ‘twinkle twinkle little star’, as befits a horror movie. In a hospital sequence, the elevator announcement is amped up (even when the elevator stays closed), there are loud phone rings (although it has no relevance to the sequence) and the ending of one other stunt sequence is signified by a temple bell. Once more, it has no relevance.
If the sound is utilized in an odd method, the music is not any completely different. Traces which are neither prose nor lyrical are set to music when villagers take somebody to activity; an identical format is used later when the Naxals encompass the cops. The music composition, lyrics and the voices are amateurish at greatest.
The digicam angles too get tedious because the movie progresses. Sudden, jerky actions between characters throughout an argument, or the digicam wanting up at actors from beneath tables, chairs, you identify it… Keep in mind how Amitabh Bachchan was framed whereas sipping chai from a saucer in Sarkar? We get related pictures of Prudhvi, who performs a politician, and naturally, the result’s each annoying and humorous.
How a lot of Konda is actual is a debate for one more time. As a movie, it takes plenty of persistence to sit down via it.