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Konda Polam Movie Review: A well-intentioned yet haphazard coming of age tale

Final week’s open Republic had a scene the put Sai Dharam Tej’s character faced a UPSC interview panel. Incidentally, this week’s Konda Polam, opens with Sai Dharam Tej’s brother Vaishnav Tej, who performs Ravindra, attending a UPSC interview in Delhi. The interviewer, played by Nasser, reputedly impressed with Ravindra’s articulation, asks him the put he received his teaching from; the younger man replies, “Woodland.” The intrigued interviewer then asks him to tell his myth, and this sorts the crux of Konda Polam.

Starring: Vishnav Tej, Rakul Preet Singh, Sai Chand, Ravi Prakash, Kota Srinivas Rao

Directed by: Krish Jagarlamudi

The film has the tagline, ‘an account tale of becoming’ and it is a ways, indeed, a coming-of-age myth. Ravindra is the supreme trained teen in his village but a sense of burden lingers around him as he fails to safe a moral salaried job. While he’s no longer necessarily regarded down upon by the folk around him, he positively feels pressurised. Vaishnav’s reticence aids in communicating this diffidence and guilt. Alternatively, in scenes the put his character is expected to reflect his ‘turning into’, Vaishnav is barely expressive, and per chance here’s why the impending-of-age side of the film doesn’t the truth is land with the needed punch.

When a drought compels Ravindra’s father and other shepherds from their village to snatch their sheep to the forest for grazing, he accompanies them on a troublesome hike. There’s a man-eating tiger, pink sander smugglers who prey on harmless forest dwellers, thieves, and even the harsh pure stipulations that act as obstacles. The screenplay follows the pattern of introducing a conflict, resolving it for the time being, and transferring on to the next one. You question these challenges to snowball into something bigger, however the film takes a mighty more uncomplicated approach within the climax, and all these conflicts live unresolved. Now, there are two solutions to take into tale at this resolution: it’s both indicative of half-baked storytelling or the film cares more about the stir than the destination. Presumably here’s why Ravindra stays a soundless observer for a range of of the main half absorbing the nature, and the records imparted by his wise father played by Sai Chand, Obulamma (Rakul Preet Singh), and fellow village dwellers.

Konda Polam does possess just a few earnest moments and besides they perform emanate from a moral location. Employ, the gorgeous scene the put Ravi Prakash’s character breaks down over the cellular phone whereas explaining to his wife why he couldn’t exhaust time at the side of her. One other heartwarming stretch within the second half has Ravindra’s sick father leaping in joy when nature solutions his safe 22 situation within the construct of rain. He picks up the mud and smears it over his face to accurate his happiness, and it’s a supreme moment the put we notice the film’s intentions come collectively, and I need there possess been more such moments. In an identical vogue, even as you gaze Ravindra’s elderly grandfather (Kota Srinivas Rao graces the show mask after a truly long time), encourage him, the moment works beautifully. Alternatively, just a few of those moments perform no longer generate the specified invent although the filmmaker and actors the truth is strive to sell them. Employ, as an instance, the scene the put a character cries when regarded as one of his sheep is grievously injured; no topic being effectively-supposed, the scene would no longer work since the film hardly spends time to keep how mighty these animals mean to these humans.

Also, in a film the put a tiger is labeled as the pinnacle antagonist, even though it’s a metaphor for Ravindra’s inhibitions and fears, the visible results will deserve to possess been mighty better. These scenes are barely threatening although the background music tries onerous to instill alarm. We impartial no longer too long within the past seen this tiger metaphor trope in Vidya Balan’s Sherni. It hardly showed the tigress, however the threat became palpable. Konda Polam, then again, no topic presenting us the wild animal more than one situations, is no longer always the truth is half as efficient as the Amit Masurkar directorial.  

An adaptation of Sannapureddy Venkata Rami Reddy’s contemporary of the identical title, Konda Polam largely advantages from the authenticity. Venkata Rami Reddy has moreover penned the dialogues for the film, which provides on to the authenticity of the fable. Filmmaker Krish has admitted that he has included a elaborate myth into the film and here’s an perspective I didn’t snatch as a result of the sheer simplicity of the notice. When gauged against the battles that surround these characters, the partiality myth and the conflict feels a tad undeniable, even supposing Rakul Preet essays the character with liveliness.

Konda Polam is a film that tries to be every little thing—a visually engrossing stir, a warmth coming-of-age myth, a elaborate myth—but within the technique, ends up no longer delving into any of the angles with the profundity they deserve. 

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