This is the story that
deals with two villages Rayavaram and Kondapalli. An
age old rivalry draws an ‘iron curtain’
between the two villages. No villager of one village
crosses the boarder of other village at any cost.
Ramu (Kalyana Ram)
lives in Rayavaram and he is the nephew of Chenchu Ramayya
(Shayaji Shinde). Lakshmi (Kaajal) the daughter of Chenchu
Ramayya loves Ramu from her childhood. Ramu also loves
her. Bujji (Srinivasa Reddy) is Ramu’s close friend.
Parijatam (Suhasini) is the daughter
of Pankajam (Subhashini) who belong to Devadasi community.
Parijatam wishes to study and get married unlike her
mother and grand mother who lead lives by doing the
profession of their caste.
Meanwhile, Madan, a villager of Rayavaram
returns from Malayasia and revolves around Lakshmi to
marry her. Lakshmi’s father announces that he
gets her daughter married to Madan.
Lakshmi, Parijatam and Bujji study in
same college in a town nearby these two villages. Bujji
falls in love with Parijatam and wishes to marry her.
Giri (Ajay) is the son of the President
of neighboring village Kondapalli. One of his friends
eyes on Parijatam and desires to ‘have’
her. Giri takes the lead and asks Pankajam to prepare
her daughter for the night to quench the desire of his
friend. Pankajam agrees initially. But Parijatam reveals
her love affair and brings Bujji to her house. Listening
to the wish of her daughter Pankajam drops the idea
to prepare her daughter for the night as dictated by
Giri. This irritates Giri and he attempts to chase and
kill Bujji. But Bujji escapes. The next day, when Giri
comes to college to kill Giri, he happens to encounter
Lakshmi and his anger gets diluted. His mind gets diverted
towards her and he says that he wants to marry her.
Ramu knows this later and he comes to
college to warn Giri, knowing that he comes there. Both
Ramu and Giri challenge each other and fight starts
between them. This becomes a fight between two villages.
Finally how the hero wins his Lakshmi?
This is the main theme of the film that runs with twists,
turns, tears and laughs till the end.
Kalyan Ram is at his
best. He didn’t get carried away with his star
image or image of his legacy. He perfectly acted up
to his best and projected whichever is required for
the role.
New heroine Kaajal is
good in many frames. She appears to have good future
on Tollywood screen. She is good both in features and
performance.
Raghu Babu’s comedy
brings laughs and Ajay’s villainy is worth mentioning.
This can be called a perfect villainy role given for
Ajay to project all the necessary histrionics. He excelled
in that.
Others have justified
their roles. Raghubabu’s phone comedy with Shayaji
Shinde tickles everyone in theatre and that deserves
a sure mention.
RP Patnaik gave different
tunes this time those are appealing on screen as well.
Mani Sharma’s background score carried good weight.
Special thanks are anyway conveyed for Gurukiran, Vandematara
Srinivas and Anoop Rubens implying that they too have
kept their hands in giving background and re-recording
of the film.
Horseman Babu’s
‘Bullock Cart Race’ is laudable. He gave
excellent output for fights.
RA Krishna’s camera
work deserves mention for a few frames. He did good
work by showcasing the frames in village backdrop.
Teja’s direction
is gripping and it is evident that he did perfect homework
by justifying almost every aspect in the film. The characterizations
of all the roles are justified by grand climax.
Paruchuri’s dialogues
are convincing and perfectly dramatic. To quote a couple
of dialogues:
Kaajal (hugging
Kalyan Ram) : Notitho chebithey
ardhamkaadugaa… andukey ilaa naa manasutho direct
gaa nee manasuki cheppestunna
The above dialogue makes
wonderful sense by watching on screen.
Subhashini: Ye
Mogudukaina pellam muddha laantidhi..appudappudu manalaanti
vaallani nanchukoka pothey muddha digadhu.
The above dialogue is
written to show how a sex worker justifies her profession
with small example.
