aravinda sametha veera raghava einthusan

Raghava's character here is like The Last Jedi of the factionists who does things out of the stereotype character, as far as the Hollywood references go. In more than 2 instances, you see 2 important characters (not naming them to avoid spoilers) narrating stories and a similar situation arises in the climax and here Trivikram clearly hints at how one's life is in the way one writes it and also at the same time, the things they do also directly/indirectly impact many lives. There is a camouflaged analogy hiding in plain sight here. The best part of the film is how Guruji brings Raghava's as well as his fellow villagers characters (few specific characters) to the point of catharsis to the very end is remarkable or shall I say Trivikram 'mark'able, since the masses are so fond of this 'mark' of late. The opening sequence was next level taking. All these scenes are delightful to watch and they both acted really well. Rustic dialogues from Trivikram and professionally infused dialect by Penchal Das is a treat! Direction:īe it in Mirchi or more so in Dhammu, you see the protagonist change their opinions about how killing and fighting will only fuel more killing and not peace, which actually they realise after only one key incident/episode that affects them the most on the contrary, Guruji showcases how step by step this so call 'enlightenment' dawns upon Raghava and how Aravinda plays a pivotal role in this revelation. dance!? All said and done, the prime MVP of this film is its detailing of the nuances that one can observe in the Rayalaseema dialect. To that matter, even Reddy Ikkada Soodu wasn't necessary, but hey.

Whenever possible, guruji hasn't hesitated to add few sparkles of his own comic relief and boy did they seep in seamlessly! The only biggest disappointing aspect of the film is the complete misplacement of Peniviti song which one - wasn't picturised aptly and two - wasn't in sync with the emotion of that particular scene. The character arc of Raghava is really fascinating to watch as it is kinda first time in TFI that this type of a factionist's portrayal has taken shape. Right from the heart pounding opening sequence up until the exhilarating conclusion, with each act he keeps taking the movie a notch higher. Though this film does not wipe out all the criticism against him in this regard, it does until a certain extent. This is probably Trivikram's best writing of female characters in his films. The story solely revolves around how Aravinda becomes the only answer to various questions and implausible problems that Veera Raghava faces in his post-traumatic quest of finding oneself.

Aravinda sametha veera raghava einthusan