Rangasthalam Movie Review: A Generic Narrative that is not completely satisfactory

Rangasthalam movie review: a generic narrative that is not completely satisfactory. Star cast Ram Charan ,Samantha Akkineni,Aadhi Pinisetty,Jagapathi Babu South Indian Telugu Movie Rangasthalam is most awaited movie in Hindi Dubbed Peoples crazy about this movie’s Hindi Dubbed Version that is available very soon! Rangasthalam Movie in Hindi Dubbed Download free

Rangasthalam Movie Review:

Everything that some people will think is right (and others wrong) in Sukumar’s Rangasthalam (Stage) can be seen in the song, Ee chethi thone. It is a funeral song that plays a murder victim who is preparing for a funeral. We see the body in an upright and bathed position. We see the afflicted father being helped to put on his ritual clothes. We see that the coffin is built, the body is raised on it. We see people who come to pay their last respects. We see the toes tied with a rope, the women crying, the body being taken for cremation, and on the site, we see sprinkle rice, place a dung cake on the face and light the pyre. Are we watching a star-directed masala movie or a documentary about the death rites of a community that lives on the banks of the Godavari?

But that is Sukumar’s approach. Rangasthalam can withstand a good half-hour cut (lasts 179 minutes), but there is a method behind the (apparent) madness. One, the film is set in the 1980s, and songs (and scenes and execution times) of this type were not uncommon at that time. And two, Sukumar wants to immerse us in this environment, in the lives of these people. Its persistent (sometimes unbearable) detail helps to raise a routine story about a village ruled by a tyrant known as “President” (Jagapati Babu, whose presence on the screen says a lot with very few lines). He has held the position, without opposition, for three decades. As someone says: “For 30 years, this town has seen the same play … There is no hero, only a villain.” No one dares to go through the president’s house with the shoes on. He returns the favor by usurping his lands and crops under the pretext of unpaid loans.

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In short, we are in the feudal kingdom of Ankur and Nishant of Benegal, or to remember a more commercial variant, something like Mana Voori Pandavulu. But here is the turn. He is not the noisy and uneducated hero, Chittibabu (a powerful Ram Charan), but his soft-spoken and returned brother in Dubai (Kumar, played by a deliberately unimportant Aadhi Pinisetty) who seeks to change the status quo. Sukumar plays an intelligent game with this mix of “mass” / “class” brothers. He makes a film about a morally uplifting social uprising. He also makes a carefully guarded justice justice movie. This is the kind of “political” film in which Kumar travels the town, begging people to support his presidential candidacy. It is also the kind of “personal” drama where Chittibabu, from the beginning, promises to crush a cobra that has bitten him, and then we discover that the president’s real name is that of the snake king. It is a great moment of blow.

The moments of blow arise organically from the script. They are not just … moments of blow, a shot or a line set simply for the pulse to strike at regular intervals. Let’s take the hero’s presentation scene: it is not heroic or a great “introduction.” We are immersed in the middle of the story, with Chittibabu looking helpless as a man is about to die. The hero seems resigned to his lack of heroism, even has hearing problems. In the first song, sing happily: “We are all toys and puppets.” Villagers, like him, resign themselves to their plight. But wait. Did I just say that the hearing impaired hero sings perfectly in tune? That is just one of the many cheerful absurdities of the genre, such as the theme song (with a pale Pooja Hegde) that explodes a second after Chittibabu’s girlfriend, Ramalakshmi (Samantha), challenges his father and moves with his family.

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Sukumar continues to play his broad (and rather generic) narrative, if he does not subvert our expectations, he will undoubtedly reconfigure them. You think that Chittibabu, at some point, will lead the uprising, but he spends all his time attending to a sick politician (Prakash Raj), cleaning his body and changing his urine bags. You think you know who is behind the attack on Kumar, but … This may be the only masala movie, I certainly can’t think of another, where the villain’s death occurs in a flashback. And then, there is another twist. The unhurried pace allows these revelations to function as more than just cliff hangers. They continue to build towards the final explosion. We see the last scenes, and then we see why we needed that previous stretch where Chittibabu imagines that there are murderers everywhere. At least for this genre, things are reasonably … realistic.

And yet, Rangasthalam is not a completely satisfactory experience. Hearing disability of the hero is not used very well. At first, it is only for comic effects, mainly in romantic portions. There is a very funny scene in which Chittibabu creates an uproar in Ramalakshmi’s house, and in other places, he keeps pushing her in the ribs to speak louder.
But even if it doesn’t always imply, Rangasthalam is certainly an interesting movie. Look how even the hero’s proposal to heroin colors the “people in need” aspect of the story. Chittibabu does not say: “Come with me if you love me.” He knows that his father opposes Kumar’s idealism, and he knows that he has to support Kumar. Then he says: “Come with me if you love me as much as I love my brother.” His love for her is implicit. (We have already seen it, we have felt it). But this is something bigger, and he wants to make sure she is up to it. Usually, in vehicles driven by heroes, we are happy with the color-stained cinematography of Rathnavelu (the night scenes look like oil paintings), some songs by Choreographed Devi Sri Prasad, some laughs, some fights. But Sukumar works with a broader vision and does something unexpected in this mix of genres: he leaves his fingerprints.

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