Narappa, the Telugu remake of the Tamil blockbuster Asuran, sticks to the unique with out straying away from any of its battle factors. And Venkatesh, who performs the eponymous protagonist, brings an analogous form of anger to the display screen. When provoked by his detractors, he roars, and when grief hits the ceiling, he cries his coronary heart out. Yet, his demeanor doesn’t echo the depth and poignancy that Dhanush displayed within the Tamil model. After all, the latter earned a National Film Award for his position.
Venkatesh shouldn’t be new to the sport of remakes. He has starred in a number of such films and lots of of them have certainly turned out to be higher than the originals — Intlo Illalu Vantintlo Priyuralu (1996), which is a remake of the Tamil comedy Thaikulame Thaikulame (1995), instantly springs to thoughts. In Narappa, nonetheless, he doesn’t search for the soul of his character precisely and merely tries to duplicate Dhanush’s histrionics. I wish he had gone forward and imagined the angst of his character anew. He would have delivered a stronger — and brighter — efficiency then.
Why does he nonetheless anticipate us to imagine that he can gleefully dance to a romantic monitor as if he’s a young person? There simply can’t be a flashback episode the place the clock turns backward, through which he seems beardless, to indicate us that he’s a lot youthful. This gimmick works just for Dhanush as a result of he’s nonetheless in his thirties and his boyish face lends a breadth of legitimacy to the youthful roles that he portrays.
And, regardless of that includes the demonic spirit of casteism, Narappa is offered as a narrative concerning the struggles between the wealthy and the poor. A voice-over narration, whereas offering context on the hush-hush nature of the protagonist’s conduct, says, “A poor man has no caste or religion; a rich man has no goodwill or humanity.” The maker of Asuran, Vetrimaaran, definitely received’t bat for that line.
When Dalits are humiliated — and killed — for exercising their rights, filmmakers can’t say that it’s a category situation. Poor Brahmins and poor Dalits aren’t handled the identical means in our nation. And, most significantly, the forces of caste enter numerous fields of human life, together with schooling and marriage. There are many dialogues in Narappa the place some people complain concerning the group that they’re born into and but director Sreekanth Addala needs us to look the opposite means.
For some unusual purpose, individuals who reside beneath the identical roof make use of completely different patois. That’s a evident cultural element that Addala forgets to fine-tune. Anyway, since it is a movie stuffed with likeable actors, chances are you’ll be inclined to softly practice your thoughts’s eye to the occasions unfolding earlier than you.
Narappa, who lives along with his spouse, Sundaramma (Priyamani), Munikanna (Karthik Rathnam), Sinnabba (Rakhi), and Bujjamma (Chaitra), faces troubles from a bunch of higher caste males as a result of he owns a chunk of land – it really belongs to his spouse, however ladies, as all the time, are faraway from the equation.
If a Dalit owns one thing, it irks the higher caste males since they suppose they will’t move orders anymore. It impacts their satisfaction and when individuals connect their existence to caste and faith, they naturally develop into fanatics. Narappa doesn’t wish to let go of his property as he sincerely believes that it must be handed right down to his youngsters and never be bought off for making a fast buck. On the opposite hand, although, he’s an alcoholic who’s not revered by his center youngster for the reason that latter considers him to be totally powerless. Adolescents need their fathers to be heroic and courageous and never throw up in the home after downing liquor as if it’s some kind of a fruity beverage.
These household dynamics make Asuran, and, in a means, Narappa, extra relatable. Some brief dialogues which might be positioned right here and there offer you an image of how good the hero is. He comes throughout as an individual who can’t even stroll on his personal sometimes, however there’s positively extra to him than meets the attention.
In Drushyam (2014), Venkatesh performed a personality with related shades. Even there, he left no stone unturned to maintain his household collectively. As an avid movie-watcher, he devoured every part that he might get his fingers on and got here up with a set of concepts to cover a lifeless physique. And within the newest release, he misleads a pack of baddies cleverly by leaving no footprints behind — he roams round a forest along with his son all night time with out getting caught. Of course, the plots of those two films aren’t the identical and so they’re as completely different as chalk and chinaware. But in case you draw a map with all of the remakes that Venkatesh has appeared in, you’ll in all probability end up slotting Narappa into the decrease backside.
Venkatesh doesn’t rise above the horizon and seize you by your collar right here. The film, however, has a wonderful supporting solid (Jhansi, Rajeev Kanakala, Brahmaji, and Rao Ramesh). These are individuals who know their job fairly properly. And so far as Addala is anxious, that is probably the most violent movie that he’s helmed up to now. His earlier dramas, Kotha Bangaru Lokam (2008) and Seethamma Vakitlo Sirimalle Chettu (2013), have been all about pomp and coloration. With this one, although, he merely exhibits that he can attain his vacation spot by taking the highway extra travelled.