Director: Mohana Krishna Indraganti
I briefly questioned if Mohana Krishna Indraganti’s V may become good. It’s crammed with high-minded references, from Shakespeare to Emily Brontë. The movie opens with a card containing Prospero’s declaration in The Tempest: “At this hour / Lie at my mercy all mine enemies.” At a much-later level, we see the protagonist, DCP Aditya (Sudheer Babu), unwinding with a duplicate of Wuthering Heights. We get ruminations on the evil inside us all, even when it’s simply the pleasure we get from watching folks die in ultra-violent Korean movies. We get ideas on systemic corruption within the forces meant to uphold justice, like the military and the police. However after we get all the way down to it, V is simply one other revenge saga, with a templated second-half flashback that claims the victims had it coming. In different phrases, this cat-and-mouse thriller is a tempest in a teacup. Or for those who favor, a lot ado about nothing. As you prefer it: Hamlet, Anthony and Cleopatra. What was that? That final line made little sense? Wait until we get speaking about this film!
The primary scene is that of a riot. I imply, there may be an act of mob violence, to make certain. However had this film been launched in theatres, the riot would have been witnessed amongst super-charged followers of Sudheer Babu. He quells the violence virtually solely in slow-motion. He even rips his shirt off. I briefly questioned if, like within the Austin Powers instalments, his nipples have been going to become deadly, bullet-spewing weapons, however mercifully, no! Afterwards, we study that he provides TED talks, walks the ramp, graces the duvet of Males’s Well being. “OTT” is not the platform. It’s the tone of this hero-intro stretch, and probably the heroine-intro stretch, too.
Apoorva (poor Nivetha Thomas, in a “we’d like songs, so we’d like a heroine” function) is a psychology graduate who desires to put in writing a criminal offense novel. She walks as much as Aditya in a bar, introduces herself, flirts with him, and inside 5 minutes, she’s burning up the dance ground with a tune that goes: Wanna contact you, now, now, now, now, now / Child kiss me, now, now, now, now, now. The lady doesn’t appear able to stringing collectively a good pop tune. I briefly questioned if I needs to be warning potential readers about shopping for that crime novel that’s brewing in her head, now, now, now, now, now.
And now, now, now, now, now, it’s time for the villain-intro scene. The cryptically named V (Nani) — I briefly questioned if his siblings have been named U and W — is finishing up homicide after grisly homicide. And in probably the most ingenious methods. He’s in all probability probably the most well-equipped serial killer in film historical past. He has a canister of shave foam. He has Publish-It notes. He has a “Fragile, Deal with with Care” sticker. He has quips about Raghavendra Rao movies. He has a contraption that may soften gold. He has marijuana cigarettes. And he’s bought a ton of orange lozenges. Neglect killing. I briefly questioned if the person needs to be within the baggage enterprise. If he can match all this right into a duffel bag, he’ll make a really totally different type of killing.
So the cat-and-mouse factor begins when V challenges Aditya to catch him, forsaking a sequence of clues. In the meantime, Aditya is torn between chasing V and enacting “cute” scenes with Apoorva and her household (they’re all seen with reducing implements, however none, alas, that may be of use on the enhancing desk, for this 2-hour-20-minute saga). I briefly questioned if the director would have been extra comfy simply pursuing this romantic zone: in spite of everything, his final outing, the Notting Hill-inspired Sammohanam, was fairly a charmer. Right here, the temper is in every single place. It’s like watching a Scream masks on a kitten. It’s like watching Vennela Kishore as a crack cop. No wait, Vennela Kishore does truly play a crack cop!
At one level, Nani and the person he’s about to kill start to sing Man dole mera tan dole, from Nagin (1954), starring Pradeep Kumar and Vyjayanthimala. Strictly, talking, I didn’t have to put in writing down the yr of that movie’s launch, or the names of its stars. However then, they didn’t have to put in writing most of the scenes right here, both: say, the one the place we’re launched to a senior cop who hates Aditya and guarantees to be a thorn within the flesh and supply an additional layer of complication. The person makes his look after which disappears, and when he returns late within the movie, I briefly questioned if we have been watching a brand-new character, just like the handicraft-store worker performed by Aditi Rao Hydari.
She softens the Nani character, however then, that was a given, proper? This extraordinarily likeable star was by no means going to play an all-out psychopath, proper? I briefly questioned if he may make an exception for a landmark film — that is his 25th — however alas, the hope dies like V’s victims. This super-predictable movie, like V’s cigarettes, is a hash. It’s a film about murders that’s not possible to take critically. It’s a comedy of terrors.