‘Anubhavinchu Raja’ has a sliver of a story and a messy screenplay, making it an ordeal to sit through
A twist in the tale happens midway through Anubhavinchu Raja. It was a chance to sit up and think that finally, something is happening. It seemed like an indication of some semblance of a story in the rest of the film. For, whatever preceded the pre-interval twist was meandering and lacklustre, to put it mildly. Sadly, the twist is far from intriguing. Had it been written and executed better, Anubhavinchu Raja could have been a coming-of-age story of an entitled brat. But as it stands, it’s a story that’s lost in a messy narration.
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The film, produced by Annapurna Studios, begins by doffing its hat to Akkineni Nageswara Rao and Akkineni Nagarjuna and introduces us to the protagonist named Bangarraju (Raj Tarun), clearly a hat tip to the character essayed by Nagarjuna in Soggade Chinni Nayana (2016) and the sequel Bangarraju which is now in the making. However, all this referencing fails to give this film’s protagonist a glamorous edge.
- Cast: Raj Tarun, Kashish Khan
- Direction: Srinivas Gavireddy
- Music: Gopi Sundar
Bangarraju is the sole surviving member and inheritor of his family’s massive wealth and lives by his grandfather’s guideline of living life king size. We see him as an adolescent, with all the indications of growing up into an entitled jerk in the village. The non-linear screenplay then introduces us to a grown-up Bangarraju who steps out of prison and starts life afresh in Hyderabad as a security guard.
This Bangarraju is a changed man who is duty-bound and considerate to people. What makes him turn a new leaf and how he gets to the bottom of a conspiracy forms the rest of the story. But before we know the truth, we endure a film where romance, comedy and crime evoke little interest.
Bangarraju falls in love with Shruti (Kashish Khan), an IT employee in one of the offices in Cyber Pearl. Her characterisation can be best described as a stereotypical cute-but-dumb heroine. Is there something new? Sure, she hates her wavy hair and straightens it each day. The hero prefers her as she is and she makes peace with her curls. This aspect is addressed so often with her deliberating on using the straightener that it becomes a bore.
The actual conflict point that is revealed towards the climax is also old school, and not in a good way. Been there, seen that in many mainstream films. A ‘supari’ gang is thrown in to pave way for a few action sequences. Raj Tarun is energetic as usual and emotes according to what the story requires him to do. But there isn’t one scene that gives him the scope to make a lasting impression, not even in the poignant moments.
Adarsh Balakrishna is thoroughly wasted and so is ‘Aadukalam’ Naren. Sudarshan as the hero’s friend evokes a few laughs and later wears a perplexed expression, just like many of us who were watching the film.
When the end credits roll, it comes as a huge relief.
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