Krishnarjuna Yuddham film cast: Nani, Anupama Parameswaran, Rukshar Mir
Krishnarjuna Yuddham film director: Merlapaka Gandhi
Krishnarjuna Yuddham rating: 2 stars
Director Merlapaka Gandhi could have finished Krishnarjuna Yuddham but carrying Nani personification a double purpose of Krishna and Arjun. He could have finished this film about Krishna’s conflict for adore as Arjun feels like an afterthought in a narration.
Krishnarjuna Yuddham starts with an amateurishly shot and edited abduction stage of a lady (played by an uncredited actor) in a city of Hyderabad. It usually foreshadows a risk sneaking in a shadows of a bustling city. After display a initial abduction by a array of countless futile cut-in shots, a executive leaves it there and moves true into Chittoor, where Krishna lives.
Krishna is a morose and unfortunate essence constantly in hunt of love. All a immature girls he has due in his encampment have deserted him since he has no customary job, income or an item to his name. For some reason, he keeps conference Ilaiyaraaja’s songs whenever he gets emotional. The Telugu versions of Ilaiyaraaja’s strike numbers have been used so mostly in a narration, that it feels like composer Hiphop Tamizha’s reverence to a maestro.
However, as predestine would have it, Riya (Rukshar Mir), a alloy by profession, who comes from Hyderabad to Chittoor to revisit her sarpanch grandfather (Nagineedu), falls for Krishna’s attract and innocence. The film keeps intercutting between Krishna’s life in his encampment and Arjun’s in Prague, who has antiquated over 200 girls, including a military officer. He is a millionaire, a rockstar and a male who gets held creation out with a bride on her marriage day. He’s unpleasant and greedy until he sees Anjali (Anupama Parameswaran). He transforms into a caring and inexhaustible being. And Merlapaka creates certain to massage this mutation in a audience’s face in a stage where he gives divided all his resources to buy a yacht in a essential follow sequence. A pointed idea about change in a impression would have been some-more effective.
The impression of Arjun is half-baked and it seems like Merlapaka usually combined him so that he could share a bucket of a tract with Krishna. In a second half, he is reduced to a side-kick, while Krishna does all a weight-lifting.
In fact, a filmmakers have finished an pledge pursuit with a special effects in bringing Krishna and Arjun in a same frame.
The usually good thing to come out of Arjun’s impression is Urime Manase, a beautifully stoical regretful number. If not for this character, this strain won’t have a place in a story. Arjun does small to take a story brazen and actually, he slows down a film.
Nani is in a good form and brings superb appetite to his impression Krishna. He rises adult a suggestion of a assembly after Merlapaka brings it down by following a six-songs, six-fight formula.
It is a elementary regretful story set in a backdrop of tellurian trafficking. Merlapaka could have finished it some-more tellurian and reduction about a star personification a character. He focuses reduction on a critical moments in a film and tries to moment jokes when a stakes are unequivocally high, undercutting a earnest of a drama.
The shred about a deputy and his uninterrupted fussy about his shopaholic mother comes as an neglected daze that serve stretches an already overstretched narrative.
A film about a hot-headed, adventurous beloved murdering each male preventing him from anticipating his abducted partner would have been a improved film than Krishnarjuna Yuddham, in that we have dual heroes on a same mission. And one of them is clueless as to what’s his purpose in a rescue operation.