Ram Charan returns to the big screen after the phenomenal success of Rangasthalam last year. Vinaya Vidheya Rama (VVR) is directed by Boyapati Sreenu, a director known for his extremely loud, OTT mass commercial entertainers which totally hinge on the lead hero. Unfortunately, VVR hardly has a few scenes to keep the audience engaged in the right way. The action scenes are unintentionally funny (Charan jumping atop a fast-moving train in Vizag and travelling to the villain’s far off destination in the India-Nepal border in a jiffy, a poisonous snake dying after biting the lead villain Vivek Oberoi, to name a few sequences). The audience was just laughing at the film after a point!
Charan plays Ram, the youngest of 5 brothers; all of them are poor orphans actually and Ram is spotted (as a baby) by the 4 of them when they are about to end their lives on a railway track due to their hopeless existence. The baby becomes their life’s purpose and the 5 of them become inseparable. Eventually, we get one big family with the brothers and their wives; Ram is the apple of everyone’s eye. Ram is engaged to wed Sita (Kiara Advani) but his life takes a rocky path due to his eldest brother Bhuvan Kumar’s (Prashanth) profession as an honest election officer. He turns into a one-man fighting unit for the sake of his family and vanquishes 100s of loud villains single-handedly.
Charan tries his best to make the action scenes bearable. His stunning physique serves his cause well. But in a lousy script, even the biggest star can do only that much. One wonders why Charan picked such a story in the first place, after impressing one and all with Rangasthalam and Dhruva.
Among the other male actors, Prashanth and Vivek Oberoi get some importance; Sneha stands tall among the actresses, playing Prashanth’s wife. Kiara Advani is there for the song sequences, some romance, comedy and glamour. Her introductory sequence would leave women fuming, due to its clear cut skin show intention and the blatant camera angles that the scene employs.
Devi Sri Prasad must have been tired while working on this film, one assumes. His songs and background score are mostly rehashed from his own earlier hit tunes and trademark beats. The songs are most likely to have a minimal shelf life.
As a film, VVR is likely to find the bare minimum patronage from the audience. One doesn’t go in expecting any logic from a mass entertainer, more so when it’s from a filmmaker like Boyapati, but there is a limit to all excesses!Read More