‘Sarkaru Vaari Paata’ movie review: This Mahesh Babu, Keerthy Suresh is weighed down by an uncovered second half


This film by Mahesh Babu, Keerthy Suresh is weighed down by an uncovered second half

This film by Mahesh Babu, Keerthy Suresh is weighed down by an uncovered second half

Director Parasuram’s Story Sarkaru Vaari Paata get on the line that money makes the world go round. Almost all of the main characters fall on either side of the divide – those who struggle to repay their small loans and are pushed to the brink, and those who fail to repay thousands of crores to the banks. Through the 162-minute narrative, Mahi (Mahesh Babu) asks why ordinary people should be hassled to repay loans of ₹10-15,000 when a business tycoon can get away with not repaying ₹10,000 crore.

Thought is hammered through a narrative that’s entertaining at first, if familiar and formulaic, but eventually becomes preachy and overt. Parasuram tailors each scene to the lead actor’s superstar image. Take the intro scene for example, where Mahesh says the now famous line, “you can steal my love, you can steal my friendship, but you can’t steal my money”. He hits thugs in the US while stating that for every hit he gets he will return 72 (because $1 = 72 rupees).

If Mahi hadn’t been played by an actor with a superstar image, one would wonder about such questions as how he started a financial company in the United States and what his credentials are. Instead, we cling to what little information the plot reveals – that a boy whose parents killed themselves when they couldn’t repay a bank loan, understands the power of those who lend through opposition to those who receive.

The Miami parties are the most entertaining part of the film, again, if you don’t ask questions – like Kalavathi (Keerthy Suresh) is so dumb that she throws her IDs and passport at people at random who she borrows money from. Kalavathi is a glamorous deceiver and Mahi is so stunned that her otherwise sharp nose for money takes a back seat.

Sarkaru Vaari Paata

Starring: Mahesh Babu, Keerthy Suresh, Samuthirakani, Vennela Kishore

Direction: Parasuram Petla

Music: Thaman S.

“It’s a boy thing!” he tells Kalavathi after following her to a college in Miami. As expected, the line draws cheers. It goes with the mood of the romantic song which works thanks to the timing between Mahesh, Vennela Kishore (as a colleague) and Keerthy. You may be stunned by the silliness of it all, like the way Kishore looks on in disbelief or indulge in laughter. It’s also worth not wondering why Kalavathi remains in debt when a single phone call to her father (in Visakhapatnam) can bring a helicopter and gunmen to her rescue in seconds in Miami.

The first half unfolds with scenes and song sequences that capitalize on Mahesh’s childlike appearance and charming female lead. Thaman’s background music and catchy songs “Penny” and “Kalavathi” establish the momentum. Credit also goes to choreographer Shekhar and cinematographer R Madhi for handling these parts well.

The first confrontations between Mahi and Rajendranath (Samuthirakani) in Vizag, have some sparks. But once the battle lines are drawn and the issue of a huge bank loan repayment comes into focus, the rest rushes into a tedious battle of wits.

While Mahi repeatedly stresses the impact of the loans on different sections of society, although well-meaning, it gets boring. Mahi lectures or slaps people, from Brahmaji to Keerthy, to make them see things differently. Smarter writing would definitely have helped.

Tanikella Bharani, Nadiya, Geetha Bhasker and several others pop up but in the end, it’s Mahesh Babu’s show that leaves no room for others. Only Vennela Kishore manages to attract attention with his perfectly synchronized expressions, even if he speaks less. Samuthirakani’s characterization, too, offers nothing innovative.

It is high time for Mahesh to look beyond the stories that have him returning from the United States to India for a mission, invariably delivering social messages and thereby saving people, state or country.


About Author

Comments are closed.