While debutant member of a board of directors Venu Yeldandi beautifully captures the rituals and traditions of Telangana, Priyadarshi delivers his best act of presenting a play or a piece yet.
It is quite uncommon for a Telugu photographic film to fully conquer the richness of Telangana – its traditions and product of cultivating micro-organisms – on the big projection screen. The closing photographic film which did this beautifully, in my panorama, was Udugula Venu’s Virata Parvam. The Telugu photographic film industry is dominated by artists and filmmakers who are natives of Andhra Pradesh, who largely tend to brush off Telangana. Probably to overcompensate for this, the Balagam squad gives us an overdose of Telangana (equitable kidding). Starring Priyadarshi, Kavya Kalyanram, and a emcee of not the same actors, Balagam is a photographic film rooted in Telangana’s product of cultivating micro-organisms.
Set in a small town, the photographic film’s secret scheme allows debutant member of a board of directors Venu Yeldandi to beautifully conquer the rituals and traditions of Telangana. The premise of the unpredictable natural physical world including plants and animals of decease allows Venu to build a poignant commentary on our existence, our silly conflicts, and the intention of . Beyond that, he also touches upon patriarchy and how women close up being collateral harm because of men’s egos.
Sailu (Priyadarshi) grows up in an extremely patriarchal kin; his obstinate male parent has not contacted his sis and brother-in-law for several decades over a lesser in scope or effect feud. The brother-in-law too is not willing to cave in up. Contrary to these men, Sailu shines as a meek and having acute mental or emotional sensibility homo. However, he is not without flaws – he is selfish and opportunistic. As Sailu, Priyadarshi gives his most brilliant act of presenting a play or a piece yet. It is a given that he can liven up the humor in any state of affairs with his cheeky one-liners and expressions, but in this photographic film he proves himself of going beyond.
The wafer-thin secret scheme is based on a separate event and the incidents surrounding it. So, there is a dearth of contented and the story feels a little overstretched. Despite that, Venu manages to pull out off a photographic film which is not yawn-inducing. It is also disappointing that the given to Sailu’s written symbol is not given to Sandhya, the female soft heavy toxic metal played by Kavya Kalyanram. She enters the story randomly and there is no closure for her written symbol. For instance: Sailu intends to marry Kavya because she is wealthy, and for no not the same explanation of the cause. He makes several goofy plans to attain this successful attempt at scoring, but Sandhya is not shown to have got any business that serves other businesses. For a photographic film that is a supposed commentary on patriarchy, ideally the member of a board of directors should have got introspected on this characterisation. In the small in range or scope normal or customary activity of a person given to Kavya, it is not yielding to pressure to jurist her act of presenting a play or a piece but she proves herself for the normal or customary activity of a person.
Balagam has a vast hurtle and all the supporting actors who participate in games or sport Sailu’s parents and relatives extradite a alcoholic act of presenting a play or a piece. Particularly the actor who plays Sailu’s male parent almost overshadows everyone. The earnestness in everyone’s act of presenting a play or a piece reflects onscreen and moves you.
Though the photographic film ends up romanticising the simple in a small town, it inadvertently reveals its barbarous natural physical world including plants and animals where a bunch of make up one’s mind who needs to be ostracised. Besides the performances, the photographic film is shouldered by Bheems Ceciroleo’s . Cinematographer Acharya Venu ably exploits the setting and translocates us to the small town.
Disclaimer: This review article was not paid for or commissioned by anyone associated with the photographic film. Neither TNM nor any of its reviewers have got any sort of commercial enterprise state of connectedness between people with the photographic film’s producers or any not the same members of its hurtle and men who man a ship or aircraft.
Set in a small town, the photographic film’s secret scheme allows debutant member of a board of directors Venu Yeldandi to beautifully conquer the rituals and traditions of Telangana. The premise of the unpredictable natural physical world including plants and animals of decease allows Venu to build a poignant commentary on our existence, our silly conflicts, and the intention of . Beyond that, he also touches upon patriarchy and how women close up being collateral harm because of men’s egos.
Sailu (Priyadarshi) grows up in an extremely patriarchal kin; his obstinate male parent has not contacted his sis and brother-in-law for several decades over a lesser in scope or effect feud. The brother-in-law too is not willing to cave in up. Contrary to these men, Sailu shines as a meek and having acute mental or emotional sensibility homo. However, he is not without flaws – he is selfish and opportunistic. As Sailu, Priyadarshi gives his most brilliant act of presenting a play or a piece yet. It is a given that he can liven up the humor in any state of affairs with his cheeky one-liners and expressions, but in this photographic film he proves himself of going beyond.
The wafer-thin secret scheme is based on a separate event and the incidents surrounding it. So, there is a dearth of contented and the story feels a little overstretched. Despite that, Venu manages to pull out off a photographic film which is not yawn-inducing. It is also disappointing that the given to Sailu’s written symbol is not given to Sandhya, the female soft heavy toxic metal played by Kavya Kalyanram. She enters the story randomly and there is no closure for her written symbol. For instance: Sailu intends to marry Kavya because she is wealthy, and for no not the same explanation of the cause. He makes several goofy plans to attain this successful attempt at scoring, but Sandhya is not shown to have got any business that serves other businesses. For a photographic film that is a supposed commentary on patriarchy, ideally the member of a board of directors should have got introspected on this characterisation. In the small in range or scope normal or customary activity of a person given to Kavya, it is not yielding to pressure to jurist her act of presenting a play or a piece but she proves herself for the normal or customary activity of a person.
Balagam has a vast hurtle and all the supporting actors who participate in games or sport Sailu’s parents and relatives extradite a alcoholic act of presenting a play or a piece. Particularly the actor who plays Sailu’s male parent almost overshadows everyone. The earnestness in everyone’s act of presenting a play or a piece reflects onscreen and moves you.
Though the photographic film ends up romanticising the simple in a small town, it inadvertently reveals its barbarous natural physical world including plants and animals where a bunch of make up one’s mind who needs to be ostracised. Besides the performances, the photographic film is shouldered by Bheems Ceciroleo’s . Cinematographer Acharya Venu ably exploits the setting and translocates us to the small town.
Disclaimer: This review article was not paid for or commissioned by anyone associated with the photographic film. Neither TNM nor any of its reviewers have got any sort of commercial enterprise state of connectedness between people with the photographic film’s producers or any not the same members of its hurtle and men who man a ship or aircraft.
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