If there’s a template for masala flicks, the Telugu film industry has another template to see relatives entertainers. Nowadays, family entertainers starring actors with a box office pull are timed to release throughout the festive season. Filmmakers hope family members audience will troop in, connect with a thought, a dialogue, a character or possibly a bond between your on-screen members of the family, use a good laugh, shed several tears and get their cash’s worth. An existing-fashioned story told reasonably well will put a grin on many faces. Krishnavamsi walks this predictable path in Govindudu Andarivadele.
An idealist father (played by Prakash Raj) constructs the village’s first hospital expecting that his son Chandrasekhar (Raghu), now a medical graduate, will assist the hamlet have good medical facility. The son has his very own plans — of going abroad looking for better prospects. The daddy snaps his bond with all the son and years later, the grandson Abhiram (Ram Charan) pertains to make amends, without disclosing his identity.
This oft-repeated tale, has shades of countless family dramas told earlier in Telugu, Tamil and Hindi cinema. Yet, Krishnavamsi helps it be his own in the manner he narrates it. Ram Charan displays a couple of clichéd NRI quirks like photographing monks Within the airport, a buffalo on the highway and gawks at Sankranti cock fights Within the village. This youngster using a ponytail (there’s a detailed-from the ponytail too) features a slight twang in how he speaks, but doesn’t overdo the NRI traits.
He enters the family unit with a vague identity, learns agile stick fight moves and agriculture basics from the patriarch and basks within the warmth of the loved ones. The previous hospital still lies abandoned. As well as the patriarch’s elder brother (played by Kota Srinivasa Rao) and his members of the family (Rao Ramesh and Aadarsh Balakrishna) await the suitable chance to overthrow Prakash Raj and find a stronghold around the village.
Since the narrative explores the bond between the different generations and the elderly couple, you can find scenes that remind among Seetharamaiahgari manvaralu and Kabhi Khushi Kabhi Gham, among many films. The type arcs of Srikanth, the wastrel son of Prakash Raj, Kota and Adarsh are somewhat similar to similar characters in Kamal Haasan’s Thevar Magan. But Govindudu… doesn’t dig deeper into your uglier side.
The ladies and kids is there to fill the frame without having much to perform. Kamalinee Mukherjee is usually a capable actress whom we’d enjoy visiting a greater portion of. Cast in a small role, she does her best. A slightly plump, wide-eyed Kajal Aggarwal isn’t given much scope to complete and she or he does what exactly is expected of her. Jayasudha never strikes a wrong note and holds her very own majestically. Prakash Raj lives his role associated with an idealist, tad egoistic patriarch. Good support also come from Aadarsh, Raghu and Rao Ramesh.
The important show stealer though is Ram Charan. Even after Magadheera, he gets a platform to show off his acting chops and guided by Krishnavamsi, he shows he is able to emote well.
Yuvan Shankar Raja gives the film a few hummable numbers.
There are many niggling issues, One of the most cringe-worthy being the Srikanth-Kamalinee episode following which Srikanth is rightfully ousted in the family. Also, Ram Charan taunting Kajal together with her pub photographs would, ideally, add up to harassment. What goes on towards the villain gang? And pray, which village house incorporates a wooden bridge on ropes, which seems mounted just so that Charan can conserve a little girl and win the center of the members of the family. Though the film’s biggest drawback will it be is soppy, melodramatic climax.
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An idealist father (played by Prakash Raj) constructs the village’s first hospital expecting that his son Chandrasekhar (Raghu), now a medical graduate, will assist the hamlet have good medical facility. The son has his very own plans — of going abroad looking for better prospects. The daddy snaps his bond with all the son and years later, the grandson Abhiram (Ram Charan) pertains to make amends, without disclosing his identity.
This oft-repeated tale, has shades of countless family dramas told earlier in Telugu, Tamil and Hindi cinema. Yet, Krishnavamsi helps it be his own in the manner he narrates it. Ram Charan displays a couple of clichéd NRI quirks like photographing monks Within the airport, a buffalo on the highway and gawks at Sankranti cock fights Within the village. This youngster using a ponytail (there’s a detailed-from the ponytail too) features a slight twang in how he speaks, but doesn’t overdo the NRI traits.
He enters the family unit with a vague identity, learns agile stick fight moves and agriculture basics from the patriarch and basks within the warmth of the loved ones. The previous hospital still lies abandoned. As well as the patriarch’s elder brother (played by Kota Srinivasa Rao) and his members of the family (Rao Ramesh and Aadarsh Balakrishna) await the suitable chance to overthrow Prakash Raj and find a stronghold around the village.
Since the narrative explores the bond between the different generations and the elderly couple, you can find scenes that remind among Seetharamaiahgari manvaralu and Kabhi Khushi Kabhi Gham, among many films. The type arcs of Srikanth, the wastrel son of Prakash Raj, Kota and Adarsh are somewhat similar to similar characters in Kamal Haasan’s Thevar Magan. But Govindudu… doesn’t dig deeper into your uglier side.
The ladies and kids is there to fill the frame without having much to perform. Kamalinee Mukherjee is usually a capable actress whom we’d enjoy visiting a greater portion of. Cast in a small role, she does her best. A slightly plump, wide-eyed Kajal Aggarwal isn’t given much scope to complete and she or he does what exactly is expected of her. Jayasudha never strikes a wrong note and holds her very own majestically. Prakash Raj lives his role associated with an idealist, tad egoistic patriarch. Good support also come from Aadarsh, Raghu and Rao Ramesh.
The important show stealer though is Ram Charan. Even after Magadheera, he gets a platform to show off his acting chops and guided by Krishnavamsi, he shows he is able to emote well.
Yuvan Shankar Raja gives the film a few hummable numbers.
There are many niggling issues, One of the most cringe-worthy being the Srikanth-Kamalinee episode following which Srikanth is rightfully ousted in the family. Also, Ram Charan taunting Kajal together with her pub photographs would, ideally, add up to harassment. What goes on towards the villain gang? And pray, which village house incorporates a wooden bridge on ropes, which seems mounted just so that Charan can conserve a little girl and win the center of the members of the family. Though the film’s biggest drawback will it be is soppy, melodramatic climax.
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