Gopichand in a still from ‘Rambanam’ | Photo Credit: SonyMusicSouth/YouTube
Yet another Friday and we have yet another film to treat you craving a good old masala entertainer that gets the formula right. In the case of Director Shrivas RamabanamThe most vexing issue is how poorly it packages multiple elements – comedy, romance, action, punchlines, and a protagonist with inhuman abilities. It feels like these were just items on a checklist rather than anything else, and it’s even more disappointing because there’s a good story at the center of it all. It is about two brothers, Rajaram (Telugu cinema doyen Jagapathi Babu) and Vignesh (Gopichand), who straddle two extreme moral ends; They are both good-doers but it is the classic means-to-ends ethical dilemma that separates the two. Rajaram, a hotelier, walks a straight line and believes in the justice system, but Vicky fights fire with fire (he is ‘Rambanam’, the arrow that shot from Lord Rama’s bow).
Writer Bhupathi Raja’s screenplay sets up the dramatic story of these brothers quite well. We open to a flashback, showing how a teenage Vicky, after burning down Rajaram’s arch-rival Paparao’s (Nassar) warehouse, runs away to Kolkata, vowing to return only after making his brother proud. Has an account. There, Vicky grows to become rich and influential, preferring to propose the underworld of crime to Indian cinema.
mold: Gopichand, Jagapati Babu, Dimple Hayathi, Khushboo Sundar
Order: 142 minutes
Story: 14 years ago, a young man from Hyderabad came to Kolkata after running away from home, returned home for his brother
Vicky has his own problems in Kolkata, but for Rambanam’s story to move forward, he needs to come back to Hyderabad and be reunited with Rajaram and his family, and this is where things go awry, both for him and the audience. Through a passable song with some heartwarming visuals, Vicky falls in love with a lady named Bhairavi (Dimple Hayathi). The song begins with Vicky, this stranger of a man, follows this woman, takes a sip from her coffee without notice and what not, and ‘remembers’ these wonderful moments to fall in love ends with doing. First of all, who is he? what does she do? Why does she like Vicky? Is she really so ignorant as to fall in love with a man notorious for his crimes? It seems that this is the wrong film to ask this question. You all must be aware that Bhairavi’s father thinks that orphans, even if they are rich, are not fit to marry his daughter and when Vicky’s family is informed back home, they send her to their family. asks to return.
It’s really a buzzword; For more than 14 years, Vicky misses his family badly, but the reason for his homecoming is a hurried love track, which also gets sidelined for the rest of the film, only for duets in exotic locations. As for the occasional speed-breaker. The reunion scene isn’t really that effective and we never see these characters talking to each other after they’ve drifted off to each other, something you’d expect from normal social creatures. The story picks up pace when Paparao and his son-in-law GK come into the picture, and we see what Rajaram, who is now the chairman of the Food Safety and Standards Authority of India, is up against. Vicky, without revealing his gangster identity to his family, needs to fight his new enemies.
Ramabanam, at least for major parts of it, when it stays on the lane of its central plot about two brothers battling against their enemies and not suffering in family drama; Some parts show signs of working good old commercial spice magic. It is only when it goes beyond that that it fails miserably. Something extra is added to everything in the script. For example, there is a well-choreographed action scene in which Vicky is compared to Lord Narasimha (classic!), but we also get an unnecessary flashback fight in Kolkata, where he is shown as Kali , with ‘Aigiri Nandini’ playing in the background. Coming to the action sequences, a scene set in Rajaram’s house where Vicky has to fight off a group of home invaders without much fuss, had the potential to be a major highlight, but unfortunately doesn’t .
The comedy, despite boasting of good comedians, is another matter of horror. Ramabanam Yet another queerphobic film that bats for heterosexuality and antagonizes queers. Vennela Kishore appears as a feminine music teacher and the writing portrays her as a touchy creep everyone needs to stay away from. At one point, comedian Ali tells another character: “Be careful around him because he’s an impotent man and doesn’t have male reproductive organs.” All these exist under the guise of “comedy”.
towards the end, Ramabanam Gets pretty messy. Even the central plot involving Rajaram and Vicky’s fight against Paparao and GK ends on a whimper after some very predictable turn of events. The villains of this story make the experience even more tiresome with their template dialogues and reactions. Even the drama between the two brothers takes the usual route; The whole ethical dilemma that divides the two is nowhere novel.
Finally, when one imagines how good the masala entertainer is, it bothers Ramabanam Had the potential to become Somewhere along the way, you start buying into its many promises and you start looking beyond all the artificiality, in the hope of something refreshing, something attractive to fans of masala cinema, and Ramabanam never gives it.
Rambanam is currently running in theaters