‘Konda’ movie review: An unintentionally hilarious film from Ram Gopal Varma

When Ram Gopal Varma burst into Telugu cinema within the late Nineteen Eighties after which made inroads into Hindi cinema, he redefined the then prevalent strategies of filmmaking. His unconventional storytelling strategies impressed a legion of aspiring filmmakers. Lately although, lots of his movies have ended up as experiments gone incorrect. His new Telugu movie Konda, impressed by a chapter within the lives of politician couple Konda Murali and Konda Surekha, is one more weird experiment. 

Stepping again into the Nineteen Eighties and Nineties when sociopolitics of Warangal and close by areas have been interconnected with the Naxal motion, RGV traces the journey of Konda Murali and Surekha from their school years till they enter politics. Thrigun, previously often known as Arun Adith, portrays Konda Murali and Irra Mor is solid as Surekha. Prashant Karthi dons the a part of Naxal chief RK, who was an in depth aide of Konda Murali. 

Konda Murali is portrayed as an indignant younger man who takes on wrongdoers and beats them to a pulp. It doesn’t take lengthy earlier than Surekha takes a shine to him, due to his machismo on campus. In RGV’s world of Konda, there’s little or no room for characters with out spunk. As Surekha, Irra Mor wears her coronary heart on her sleeve, be it in a university fest or thereafter when she manoeuvers Murali out of difficult conditions. Tulasi as Murali’s mom is made to behave in a peculiar method. In an early scene, she asks Murali to depart behind his cinematic anger. How does one outline her anger although? Quite than coming throughout as a brave mom, she is made to behave like she is a part of a horror story wherein you can not guess her subsequent transfer.

Step by step, the sound design and cinematography transfer into the horror film zone, unmindful that the story is a political drama, making all of it unintentionally hilarious. 

In a single scene, Murali and Surekha ask a personality to depart his little baby of their care whereas he’s on a mission to settle scores. The lady baby is of their care, and a stunt sequence performs out elsewhere. The background rating amps up ‘twinkle twinkle little star’, as befits a horror movie. In a hospital sequence, the elevator announcement is amped up (even when the elevator stays closed), there are loud phone rings (although it has no relevance to the sequence) and the ending of one other stunt sequence is signified by a temple bell. Once more, it has no relevance.

If the sound is utilized in an odd method, the music is not any completely different. Strains which can be neither prose nor lyrical are set to music when villagers take somebody to activity; an identical format is used later when the Naxals encompass the cops. The music composition, lyrics and the voices are amateurish at finest.

The digital camera angles too get tedious because the movie progresses. Sudden, jerky actions between characters throughout an argument, or the digital camera trying up at actors from beneath tables, chairs, you title it… Bear in mind how Amitabh Bachchan was framed whereas sipping chai from a saucer in Sarkar? We get related photographs of Prudhvi, who performs a politician, and naturally, the result’s each annoying and humorous.

How a lot of Konda is actual is a debate for one more time. As a movie, it takes a whole lot of persistence to take a seat by means of it.