Viswam, helmed by director Sreenu Vaitla, emerges as a stark reminder that mainstream Telugu cinema has not entirely evolved for the better. With its antiquated narrative style, forgettable character arcs, and a plot lacking the spark of originality, this film—starring Gopichand and Kavya Thapar—seems to have missed the mark in delivering engaging cinema. The film ambitiously attempts to entertain with a plethora of characters and intertwining subplots, aiming to offer a blend of action, romance, emotional drama, and comedy. However, the result is a cumbersome 155-minute experience that often leaves the audience yearning for coherence rather than searching for logical reasoning.
From the very first scenes, the audience is introduced to the core of the film: a terrorist who has cunningly infiltrated the political and academic circles of the Telugu states. The narrative quickly resorts to the often-exploited India vs. Pakistan trope, further fueled by religious sentiments. Before the gravity of these developments can truly take hold, the film abruptly transitions to another dramatic event—a politician’s assassination, resulting in his brother becoming a mere puppet for the advancing terrorist’s grandiose and deadly design.
Despite the urgent backdrop of tackling a terror network, Viswam chooses to explore this vital plot line only as an afterthought, whenever convenient. Instead, the film introduces a motley of characters, each seemingly more ludicrous than the last. Central to this ensemble is Gopi (played by Gopichand), who identifies as the proud son of Bul Reddy. Gopi is quick to unleash his anger and fists on anyone who dares speak ill of his father. Laced within these interactions are Telugu slang phrases that are best left unmentioned due to their unsavory nature. Magically, Gopi aids Jali Reddy (Prudhvi) in transforming his status from an employee in a high-rise apartment to its owner, allowing Jali to confront those who once employed him.
The subplot thickens with the introduction of an aspiring politician Bachiraju (Sunil), his assistant Deekshitulu (Rahul Ramakrishna as the wannabe conscience keeper), and a political strategist (Srikanth Iyengar) whose catchphrase “out of the box” serves as a humorous code for fetching a box of booze. Despite the plentiful wordplay and rhyming dialogues, the lines lack the impact to leave a lasting impression.
. Even with writing credits shared between Sreenu Vaitla, Gopi Mohan, and Bhanu-Nandu, the film fails to reach the entertainment heights of Vaitla’s previous blockbusters. As an example of its waning humor, one scene features a bag mistakenly filled with deteriorated fruits instead of the anticipated dry fruits—a tired attempt at eliciting laughs through predictability.
The romantic subplot unfolds with the entrance of Samaira (Kavya Thapar), a movie stylist involved in overcharging the production team for costumes in Italy. Her character arc takes a suspicious yet predictable turn when Gopi rescues her from thugs, leading to a predictable shift in her intentions. This portrayal also sheds light on how inflated film budgets can increase ticket prices and deter audiences from theaters in favor of waiting for streaming releases. Such occurrences suggest that audiences also crave more respectful, compelling narratives.
Amidst the muddle of mediocre comedy, the terror threat resurfaces just in time for the pre-intermission climax—not before an emotional story of a young girl and her parents is introduced to little effect, as the hero predictably steps in to save the day.
While trying to recapture the humor of Vaitla films like Dookudu and Venky, Viswam orchestrates an elaborate train sequence relying heavily on Vennela Kishore’s deadpan delivery as ‘the family star.’ Although a few moments manage to provoke laughter, most are taxing on viewer patience. The burden of lackluster writing overshadows Kishore’s talent.
The same can be said for the cast. Gopichand, Jishu Sengupta, and Sunil check off the requirements of their roles without making them memorable, while Kavya is restricted to a glamour role with minimal substance. Notable is a scene in Italy where Kavya clashes with Gopi, drawing attention to a glaring lack of lip sync, further illustrating the film’s production mishaps. A fleeting yet commendable performance by Priya Vadlamani, who steps in heroically at a crucial moment, stands out among otherwise routine male-driven narratives.
Ultimately, Viswam is entangled in a meandering narrative that feels outdated by a considerable margin, rendering it an uninspiring addition to contemporary cinema. Viswam is currently running in theaters.
Published – October 11, 2024 02:06 pm IST
The Hindu Cinema Plus
