Director: Sandeep Raj
Solid: Suhas, Chandini Chowdary
Sandeep Raj’s Color Picture (he additionally wrote the movie, from a narrative by Sai Rajesh) is ready within the 1990s, and it has most of the tropes of the romantic melodramas from that period (and even earlier): for example, the opposites-attract assemble, with, say, a wealthy woman and a poor boy. Right here, we have now a dark-skinned boy named after a dark-skinned god (Suhas, as Jayakrishna) and a really fair-skinned woman named Deepthi (Chandini Chowdary). What’s totally different—and refreshing—is the depth within the writing, which does lots to mud the cobwebs off the template. The narrative opens with the information that Deepthi’s father is lifeless. However she’s chilly, distant. She is unable to cry. A bit of later, we see that she’s unable to really feel pleasure, both. We be taught this from her husband, who’s not Jayakrishna, and that is not a spoiler because it’s on the market proper in the beginning.
In different phrases, proper in the beginning, we all know this love story didn’t finish the way in which Deepthi and Jayakrishna needed. And when your intense old flame is crushed, it could possibly have the type of soul-destroying impact it has on Deepthi: you’ll be able to’t really feel pleasure, you’ll be able to’t really feel sorrow, you grow to be numb. We see this in actual life on a regular basis, however I believe that is the primary time I’m seeing this in a film. Deepthi’s husband is aware of about Jayakrishna. How may he not? She has a tattoo of Jayakrishna’s title simply above her coronary heart. Each time he makes like to her, there’s actually one other man in mattress. However he understands. He’s a very nice man, maybe nicer than many people can be in such a state of affairs. He is aware of how a lot Deepthi cherished Jayakrishna. He settles, fairly peaceably, for being instructed by his spouse: “I like you, too.”
Color Picture is crammed with these impressed touches. Take the “villain”, Rama Raju (Sunil). He’s Deepthi’s older brother, and when he threatens Jayakrishna to cease seeing his sister or else…, he burns Jayakrishna’s college certificates. Jayakrishna is the son of a milkman, and training is his sole hope of a greater life. Rama Raju may have had Jayakrishna’s father crushed up, however burning these certificates is worse: he’s guaranteeing Jayakrishna will stay a milkman. But in addition take into account why Rama Raju disapproves of Jayakrishna. It’s the pores and skin color. He doesn’t take into account himself a good-looking man (like many Indians, he equates “good wanting” with “honest pores and skin”), and this self-loathing makes him need higher for his sister.
For that matter, take into account the primary time Jayakrishna units eyes on Deepthi. She’s dressed up within the costume of a goddess for a dance efficiency. Even he, you can say, actually worships honest pores and skin: he performs a mock-aarti for her. Later, he wears sun shades, in order that she seems a little darker, and he can really feel a little higher in regards to the color distinction between them. The road is tossed off as a joke, however the fact stings.
There’s a hangover of different, related movies. Like in Pariyerum Perumal, Jayakrishna is humiliated by being pushed right into a “women solely” room. Like in Ye Maaya Chesave / Vinnai Thaandi Varuvaaya, we get a double ending (and plenty of pretty songs, courtesy Kaala Bhairava, the son of MM Keeravani). However I wanted these fabulous bits had come collectively higher. The movie has quite a lot of flab. (Did we actually want a “aspect villain” within the type of Jayakrishna’s faculty principal)? I wanted the framing gadget had not been some random “story narration” at a random tea stall. I wanted the romance had been constructed with extra… romance. I wanted we may really feel extra for this couple.
The dialogues have a studied high quality, a bent to be a little too on-the-nose. The performances, too. One of the best mates (Harsha, and particularly Divya Sripada) are sensible: they’ve looseness, spontaneity, and so they simply outshine the leads. Suhas and Chandini Chowdary aren’t unhealthy, precisely, however they’re by no means greater than… strong, competent, earnest. They’re all these phrases you employ to say they principally get the job finished. However Suhas’s underdog-sincerity is unmistakable. He has a kind of lost-little-boy faces that makes you root for him, regardless of the state of affairs.
Points and all, Color Picture is likely one of the higher merchandise of this direct-to-OTT period. It could not come collectively completely, however a minimum of, it’s not for lack of attempting. The general-ness may use quite a lot of work, however the touches nearly make the film. I like this dialog between Deepthi and her finest pal: When males face a “love failure”, they maintain speaking about it, however ladies in the same place discover themselves rapidly married off. And since most films are made by males, these ladies’s tales stay unheard. It’s a beautiful sentiment, sadly all too true. Right here, then, is a girl’s “love failure” story. Among the many many small successes of Color Picture, this one’s the largest.