Behind the Movie DCR: Tasteful producer Sai Korrapati has given an offer to senior direction department technician Trikoti for this poetically titled movie. Nag Sourya, Ajay and Sana Makbool are the key artists while Keeravani music is big advantage under any situation. Let us get into review to analyze Trikoti’s aptitude?
In the Movie DCR: Story begins with introduction to Krishna aka Krish (Ajay), a married and father to two middle aged gentleman with youthful attitude working in SBI. He is an unstoppable flirt who chases every girl comes on his way. Krish being married at a very early age to caring wife (Indraja) wants to live his bachelor life twice by falling in love. Thus enters Sameeta (Sana Makbool) into his life when recovering a bank loan. Krish falls instantly in love and moves so close to her first in the name of friendship which then turns into love. Meanwhile, Sameeta also builds a strong bond with junior Madhu (Naga Shourya) and love is around the corner. Twist in the tale, Madhu is none other than Krishna’s elder son. As story progresses, Sameeta accepts Krish’s love and they are on the verge of marrying. How Madhu tackled the complicate problem? When Sameeta is informed on Krish’s actual identity? All these form the rest.
Values & Out of the Movie DCR: First of all a stunningly innovative line like father and son falling in love with same girl may not need any extra ordinary treatment because a traditional screenplay with enough of fun can do trick at BO. In fact, the story line inherently has a space to generate comedy. Neither director Trikoti nor writers Giri, Ramesh and Gopi tried this part. Instead, they legged into utterly serious narration with heavy dose of melodrama. Story wise, hundred out of hundred marks to PV Giri. There was a problem with treatment and run of characterizations. Keeravani’s music did not have any magical flavor. Except elevation of a couple of scenes with BGM, Keeravani did not do anything great here. BV Amarnath Reddy’s cinematography is also a let down. Does not the reason why, Varahi known for elegantly decorative and creative in visualization of scenes left their senses to null. Editing of Tammi Raju is also a debacle. Production values of Varahi were also average.
On performance bench, Ajay should have been a show stealer. This is a life time opportunity for him to utilize on. Instead, he proved to be just a better co-artist and not a main lead. Lack of strength in dialogues and improper etching of character resulted in such screwing up. Naga Shourya is surely restricted. The ease and flow in ‘Oohalu’ went missing here from his point of view. Sana Makbool is good looking and did a better job. Indraja is blocked off in 80’s role delivery. Where are we to play the melodrama on Mangala Sutram? Those sentimental prescriptions are gone off the days. Savior of the play is Brahmaji’s browbeaten husband character drawn good and situational fun. Among the rest, Ali was so-so, Posani is insignificant.
‘Dikkulu Choodaku Ramayya’ could have been a special film for all genres to connect, if format of narration was changed to suit the current tastes of public. They have rolled out a very serious film with an unconvincing message in climax folded on a flat note. Snail pace narration and run of the mill regulations made ‘DCR’ unsafe. Good to see now and then, new storylines penned in Tollywood backyard but absence of mild treatment can result in miscarriage. Trikoti sir struck to his early ancient days of narration style without taking the advancements in scripting and direction. Commercially, DCR’s fate needs to be calculated in next two to three days. If youth and families are its target audience, let us see how they react?
Cinejosh Verdict of DCR: Thappulu Chesina Kotayya (Trikoti).
Cinejosh Rating: 2.25/5
Reviewed by Srivaas