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 Radhe Shyam


Can love trump fortune? Can you be that cream de la creme of humanity who orchestrates your own fate? If you're fated to die single, can your restraint avert the ineluctable? 'Radhe Shyam', the rearmost box- office release, toys with mystifying questions without taking the pains to percolate the script with infectious ideas and deepness. Vikramaditya (Prabhas) is a prophetess who's known for unerring prognostications. He believes indeed what we suppose isn't in our control (which oddly justifies his sometimes perplexing 'flirtationship' capers, maybe). He knows love and marriage aren't passing, as per his horoscope. When he gets attracted to a croaker named Prerana (Pooja Hegde), he wonders if his fate can be altered at all. Prerana falls in love with him all the more deeply after a extremity hits her (and way away in a hurry). In a tumultuous turn of events, the manly lead learns that there's further to life than plainly reechoing what has been scripted by the unseen power up over. Vikramaditya is a reticent brand minister for fatalism. His character goes through inner churning that's seen but not felt. The empirical trouble feels like half a problem rather of a disaster. The serious scenes are intercut with a gusto of abstracting, occasionally parodic scenes involving the likes of Jayaram, Priyadarshi and indeed the lead brace. The casting of supporting artists is unsatisfying. The exchanges are unpardonably ordinary. The conflict plot point feels impersonal because we struggle to connect with the lead brace despite Justin Prabhakaran's two sublime songs in the first half. The film is bereft of stirring moments despite the unconventional, slightly superheated premise; and that is because of the sometimes inelegant staging of scenes. In a funnily bad occasion, Vikramaditya invents the conception of exercising death on the go! Prerana's unoriginal responses only aggravate our frustration. The whole idea was supposed to be comical as well as poignant (?) in the rambler macrocosm of the film. The film assiduously lacks tense moments that can keep us perched at the edge of our seats. The performances are unsettling because of the uneven casting. The Telugu interpretation does not indeed feel like a straight film for the utmost part. When Jayaram is around, it's like a Mollywood dub. When Kunal Roy Kapur is around, it's like a Bollywood dub. Similar versatility was noway anticipated, was it? . The discourses sound like they've been written for a sense- good, low- stakes love. They (not all but too numerous) belong to the world of an amateur independent filmmaker's cinematic macrocosm, not a big-scalepan-India movie that's supposed to set the BO on fire. The train doesn't look like a train from the outside. The sanitarium does not look like one from the inside. Raveendar's product design is substantial in some portions but not constantly outstanding. Manoj Paramahamsa's cinematography does not produce hanging moments despite the charging of high- end technology. The film nonchalantly glasses the thinking of religionists of fatalism. When the alternate caravan of the movie was released lately, this critic felt that Prabhas' characterization will be more violent than what the songs (which are far better in Telugu than Hindi) suggest. It wouldn't have been wholly unpleasant had Vikramaditya been a bit changeable and eccentric. Rather, he comes across as a typical nut boy trying to beover-cute. Further than an fluently choleric genius who does not calibrate his responses, he's a routine dude who doubles up as a wanderlust. The scenes in alternate half where a crucial character makes a vain attempt at exposing Vikramaditya is spare. When the first half has formerly established the idol's fantastic effectiveness in palmistry for the followership, why waste screen time to do it for a bare supporting character? The love track is slightly inventive when it comes to lighter scenes. They feel general and are hardly the kind of situations that should be in the dramatic life of a clairvoyant man. Prabhas is sincere in some scenes but looks demotivated when the jotting fails him. Thaman's background music lacks novelty.

Starring:- Prabhas, Pooja Hegde, Krishnam Raju, Jagapathi Babu, Sathyaraj, Bhagyashree, Murali Sharma, Riddhi Kumar, Jayaram, Sachin Khedekar, Priyadarshi
Director:- Radha Krishna Kumar
Producers:- Vamsi, Pramod, Praseedha
Music Director:- S. Thaman
Cinematography:- Manoj Paramahamsa
Editor:- Kotagiri Venkateswara Rao















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