There’s something audacious approximately a celebrity of Prabhas’ proportions agreeing to do a complete-length love story with none action and banking simply at the script and his personal acting calibre. After Saaho and the assertion of movies with Prashant Neel and Sandeep Reddy Vanga, there has been a fear that the pre-Baahubali Prabhas who became recognised for being the goofy-masala megastar of romantic dramas had completely diminished out. Even his comedian timing and speak shipping hasn’t been appropriately utilized in nearly a decade.
But in Radhe Shyam he wants to try to redesign himself into that mould again. Utter romantic dialogues, be a goof in love on screen, and of route, the most crucial of all, be smolderingly attractive and stroll-in slow-movement to make certain that the women inside the target market can lust after him. Unfortunately, all of this might have worked for the pre-Baahubali Prabhas but in Radhe Shyam he appears worn-out, his eyes are droopy, easy dialogues appear arduous, and he just isn’t humorous as an awful lot as cringey.
Radhe Shyam tells the tale of an expert palm reader (“Einstein of Palmistry” as the movie maintains relating to him) Vikramaditya (Prabhas) who falls in love with Prerana (Pooja Hegde), a health practitioner. They are both in Italy within the 70s due to the fact something something Indian emergency some thing however the real cause appears to be that a ‘Prabhas’ movie have to have a scale that is bigger than his previous films. Back to Prerana and Vikramaditya. They aren’t alleged to be in love because it’s not within their fate. Why can’t Prerana and Vikramaditya be in love? Can Vikramditya read his own palm and does he understand something we don’t? Did Prabhas examine the script?
Radhe Shyam is directed by means of Radha Krishna Kumar who is one movie old, that film being Jil which changed into a ordinary masala-fare. Here, he attempts to tell a pure love story along the lines of Manirathnam’s Geethanjali however provides a layer of Hindu mysticism to it. In that try, Radha Krishna Kumar has expected stunning frames that show his impacts starting from Mani Ratham to Michael Gondry and maybe even master framemaker Sanjay Leela Bhansali. Some frames are stunning to observe along with a teach walking via a lake because the lead pair stare into each other’s eyes; a few appear to be bold homages like while Prerana and Vikramaditya are lying on snow as though they are the best ones in the international (similar to the posters of Eternal Sunshine of the Spotless Mind); a few are undeniable tacky like Prabhas being at one end of the rainbow at the same time as Pooja Hegde runs to the alternative quit.
But they’re all beautiful frames put together through cinematographer Manoj Paramahamsa, manufacturing designer Ravindar, and costume designers Eka Lakhani and Thota Vijay Bhaskar. Even the units designed by Gayatri Shinde and the art via Illia Boccia, Sagar Mali, and Giulia Parigi have raised the bar at the least twofold for any Telugu film that comes after this. Rarely do Telugu films appearance so pretty and this one looks stunning. The interiors of a house appearance so photograph-perfect that, even a mattress that’s been slept on for an entire night time appears barely crumpled as if to sleep nicely on them is to sin.
But here is where Radha Krishna Kumar’s script (he wrote the film too) shall we down the dimensions of the film and its stars. He appears to be so invested inside the frames that during phrases of storytelling, he’s taken it a long way too actually where his characters inform us what happened and what we’re speculated to sense in preference to display us.
Take this scene as an instance. Vikramaditya tells Prerana that if she doesn’t come outside a certain location via 10 AM day after today, he will never show his face to her once more. This is standard Telugu movie territory. But the next day he suggests up at stated time and vicinity. But how do we recognize this gesture is grand? Because a character literally tells us something to the effect of “Did he simply journey three hundred kilometres in freezing temperatures and pouring rain throughout mountains to fulfill you?” And this is how we examine that he did all of these matters. Otherwise, we get a Prabhas on a motorcycle with no scratches or signs of damage and tear and he appears prim and right with slightly a stain on his garments.
I’m now not asking to be proven thermometers and rain gauges but don’t expect me to be awed by the end result without displaying me the technique. The film suffers during from excess exposition.
And it commits the other cardinal sin that lies adjoining to exposition — smooth and convenient payoffs. There is a ship captain (played by means of Jayaram in a Captain Haddock manner) who is constantly within the health facility due to the fact he is continuously concerned he has a ailment i.e. he’s nosophobic. He’s given a few scenes to play for laughs and his scene with Prabhas, which the movie thinks is ripe uproarious comedy slightly reasons a snort and this is prompted neither through Prabhas’ nor by means of Jayaram’s performing chops. But this captain adjustments his lifestyles — we slightly see him ponder and his entrance, in the long run, is so outrageous that even Vikramaditya can’t are expecting it.
Similarly, there are characters who’ve no payoffs but they’re all supposed to intend something. Jagapathi Babu performs a individual who has no outcome in any occasion inside the film and but his scenes had been retained. There is a scene with an archer in which she asks “Do armless handicapped humans now not have a destiny?” and what is supposed to be a meaningful moment seems like a stupid question asked by way of a 14-12 months-vintage. Towards the climax, we’re speculated to sense destroyed through the fact that Vikramaditya is leaving his mother together with his friend, and he’s leaving his complete existence at the back of. But how can we do this while we don’t care about them sufficient? Do we actually need Kunal Roy Kapur to play a ‘fat’ friend who eats a lot? Did we even need such a person once more in one of these reputedly ambitious film?
Director Radha Krishna Kumar also struggles to handle Justin Prabhakaran’s wonderful song. I’m just going to depart you with one instance so that you recognise how ordinary the songs sense on display screen. Radhe Shyam’s biggest tune (and my personal favored too) is ‘Ee Raathale’ sung via Yuvan Shankar Raja. When the chorus hits, the song is magical because the lyrics say “Ee raathale Dhoobuchule” (This fate continues toying with us) and there is a candy fusion of Carnatic and Western track that explodes. But in the film whilst this equal refrain hits at one factor it cuts to Vikramaditya and his family eating. There’s more Prabhas and Kunal Roy Kapur toying with the rice on their plate than the enormity of fate playing with all of us. Other songs suffer in addition.
I suspected the film to proportion this ‘destiny’ once I saw certainly one of its first frames. It stated “Story Idea through Chandrashekhar Yeleti”. Radha Krishna Kumar labored as an assistant under Chandrashekhar Yeleti for 9 years or so. Chandrashekhar Yeleti is Telugu cinema’s most overrated “underrated director” as he too suffers from being an thoughts man who struggles to translate them on display.
Radha Krishna Kumar too has a few massive and ambitious thoughts. I assume the concept to intertwine dying, love and fate is a winning mixture and further to make your protagonist a palmist is a brave idea. This isn’t to say you have to agree or believe in astrology. But one of these literal interpretation of fate and love is a terrific idea given that Prabhas caters to big sections of the target audience. But it looks like a gimmick instead of a characteristic and when Prabhas harps on about no longer having a ‘love line’ it makes his character seem flaky while the film wishes us to think he’s a tragic hero. Similarly whilst the individual desires ‘flirtationship’ (which in current terms might be fuckboi) it feels cheesy and makes the audience flinch in place of be some thing which you find endearing.
And subsequently, the two plot factors that the film considers ‘twists’ do now not paintings in general because they are withheld from us and we must conflict via a bland however lovely first half and an equally commonplace 2nd half of until the twists are revealed one after the other. They’re not worth the wait due to the fact there are no ‘real’ obstacles to this love tale. Had Radha Krishna Kumar observed Manirantham’s Geethanjali where the conditions of the lead pair are found out early on, Radhe Shyam could have been a extra interesting watch.