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Jarasandha Kannada Movie Review

Updated on : Nov 25, 2011

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Jarasandha Kannada Movie Review

STORY:

Criminals are not made but they are born says the theory of this film in a rather protracted style offering nothing to the society. ‘Jarasandha’ alias Krishnamurthy, Kitty (Vijay) is out of the way from the young age with his two friends. His intention is to create fear and live on one side. On the other side he wants to be obedient to mother and society – similar to two sides of the coin.

Jarasandha’ typical to the Mahabharatha character who get sliced from Bheema is different here in modern day’s cinema. That epic Jarasandha has an end when Bheema on the instructions of  lord Krishna throws the sliced pieces on opposite direction. This Jarasandha is having no end despite of bullets entering his body in encounter and battled and bruised by the opponent gangs.

Jarasandha finishing the underworld don JP who is ruling from Dubai earns the pivotal position but he has Naidu (Ranganaya Raghu) who fixes him with the police sitting in place of JP.

Jarasandha over pour the police and beaten badly he escapes police net to reach Dubai to make Don Naidu to the position of a dog. As the post interval dialogue says ‘I want to be the bad man of the world’ – the protagonist achieves it losing every kith and kin in life. The childhood dream of looking after mother well does not happen for the protagonist.

Jarasandha in the process of meeting his ends loses mother and his fiancée Samantha (Pranitha) before he goes to Dubai escaping from tight security in the hospital.

ANALYSIS:

Director Shashank has not offered nothing new in this film except by saying criminals are born and fear should be there in the society for consequences in store.

In the action films direction Shashank is a novice. There many Kannada films with much higher voltage on screen. The logic of this director who gave meaningful films like Moggina Manasu, Krishnan Love Story is missing in this film.

The intelligence of director Shashank is not there even in song placement leave alone the abundant violence he has forcibly added in this ‘Jarasandha’.

The dual mind like the two sides of the coin is not utilized for constructive purpose in this society. Director Shashank has not got the habit of his contents discussing with others. He felt it is an extremely good subject but on screen it is so pale in narration and objective of it.

Just not even one meeting and one phone call between the protagonist Krishnamurthy and Samantha, the director brings in the song Padhe Padhe Phoni Nalli Kata Kodthiya….where did the phone call came to hero from heroine in the previous scenes. This is the simple question director Shashank should have seriously discussed with him.

It is not quite OK in the first half because the protagonist remains completely unconnected to the cinema till fight out before interval. Till then it is a waste of time, money and energy the discerning audience would feel. The symptoms of how protagonist is connected and his target surface after the interval when he explains his past to his fiancé.

After a deadly encounter with mother and fiancé in the police vehicle the protagonist asks his mother to move fast as flight would get delay. This is utter nonsense.

Like in all action films of police and underworld nexus the director Shashank brings in mother and fiancée character in this film and makes it a big bore. At least in this way he could have been different. Such thoughts are as old as mountains.

The famous Mulki festival of Bappanadu is not properly connected to the cinema and nothing big happens in this portion on screen. It is only at a far of place the action breaks out prior to the interval.

This director who speaks volumes at the media meets we have to give films on standards of Telugu, Tamil and Hindi why did he bring in Telugu and Tamil languages often in his film? Some of the Rangayana Raghu dialogues in Telugu is difficult to understand.

PERFORMANCES:

Vijay fits the action film immaculately but there is nothing much of novelty for him. Blood oozing out from mouth and beaten black and blue he raises looking fresh to beat JP and his two men.

Pranitha is once again wasted. She is in song portions with colorful costumes. Roopa Deva is unfit. She is not able to pronounce words like ‘Disappoint’ properly (she says dispont). What is ‘Benne, Butter type – both are one and the same that comes from Roopa Devi mouth in one of the scenes.

Rangayana Raghu has spent time talking Telugu. The film releasing in Kannada Rajyotsava month is not liked by many. Sampath has the sound voice and nothing else is out from him. The same is the case with Dynamic star of yesteryears Devaraj.

TECHNICALITY:

The songs like Hale hubli bustand nalli the opening song for Vijay is peppy and so is Nee Neerig Baare channi. Yaradhur Halag Hogli…song is irresponsible one. The song by Upendra Padhe Pahde Phoni nalli….is not good and Avarivara jothe Seradhe…is melodious.

Arjun Janya has done a good job and Shekar Chandru in his camera has given best work.

Director Shashank has not concentrated on the dialogues and his sinking knowledge of scenes and songs are very poor.

Last but not the Least –  Spending Rs.6 crores of the producers, this director should have his seventh sense also working.

SENSELESS ACTION – Score – 2/5

Cast: Vijay, Pranitha, Rangayana Raghu, Sampath, Roopa Devi, Swayamvara Chandru, Chetan, Chetan Chandra, Naveen Padiyal, JK and others.
Music: Arjun Janya
Producers: Gangadhar and Basavaraj
Cinematography: Shekar Chandru
Story, Screenplay, Dialogues, Direction: Shashank.                         
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