Telugu commercial film is a celebration of the superstars that some great personalities possess and the religious worship of it with every frame. There’s nothing wrong with it; it’s a cinematic tradition for a region where people see movies starring their idols on a regular basis. But does it imply that others who watch those films without becoming fans are fed the same stuff endlessly without adding anything new?
Godfather, penned by Mohan Raju alongside Lakshmi Bhupala and Murali Gopy, honours Chiranjeevi, one of South cinema’s biggest megastars and a figure who helped to build the business in its formative years. He is immediately established in the script as a man that not even the FBI would consider mistreating. So, when he starts the race wearing a well pressed white kurta, some pricey sunglasses, and million-dollar flamboyance, you know this is the man who is expected to win and, based on past performance, he will undoubtedly do so.
The creators’ current task is to come up with a narrative that not only supports the triumph of their already admired protagonist, but also is entertaining and deserving of the whistles that a ticket buyer intends to blow. The creators of Godfather did attempt to add local politics, individuals betraying one another, and even more to make everything so complicated that the God they invented had to be on his toes to handle it. But everything, even with the biggest names, ends up looking like a preexisting plan.
Now, I’m not saying that this is a terrible movie that shouldn’t be viewed. If I were a fan of Chiranjeevi, I would have been flattered since the fanfare gets bigger every time he appears on screen. But none of this is a surprise. The man has worked in the industry for a very long period, and filmmakers have already sufficiently worshipped him. Therefore, the staple routes are the issue. Additionally, the notion of having every other performer underplay their performance.
One can consider that the deed offers redemption. But as the film goes on, you simply wait for it to end because you know Chiranjeevi will survive the battle unscathed after defeating about 50 men. Yes, the celebrity never receives even a little scratch in the more than three battle scenes. He had no creases at all in his kurta.
Review of The Godfather (2007): Star Performance
Chiranjeevi is aware by this point that he doesn’t need to do much to win folks over. They already do, so all he needs to rely on now is the nostalgic quality. The megastar keeps things understated and allows his actions do the talking to convey the thug he is. That is also effective since, at the very least, you are unaware of his next move.
As much as the screenplay permits, Nayanthara plays Satya. She and the megastar have a lovely trajectory in common, but that is all that is allowed of her; no other emotions, even rage, are actually allowed to be expressed.
Satyadev Kancharana portrays the villain convincingly and inflicts your hatred on him. Additionally, Salman Khan is acting as Salman Khan as possible. This time, he comes into a house full of loaded firearms wearing a bulletproof jacket, and I want to thank the person who thought of this excellent detail. Moreover, does he own a bike that fires tiny missiles? I saw a matinée in an almost empty theatre; there was too much stillness for me to notice small details.
Review of The Godfather: Direction and Music
There is no denying that Mohan Raju is a Chiranjeevi fan. Every turn in the plot is directed toward him, setting up the opportunity for a slow-motion picture or a close-up of his glares. However, he overdoes the slow motion, which only adds many more seconds to the already lengthy duration.
It’s been a while since I last experienced Thaman S’ true enchantment, but his music is once again a mainstay. It must come soon.
The Last Word: A Review of The Godfather
In the nearly three-hour-long Chiranjeevi spectacle “Godfather,” men soar and gravity is forgotten. We have been purchasing stuff for years, but for the culture to advance, something must be fresh about it.