“Unraveling the Drama: Mahesh Babu’s Guntur Karma – A Critical Exploration of Characters and Plot Twists”


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After briefly wreaking mayhem in an opulent estate, Mahesh Babu’s character Venkat Ramana Reddy makes the decision to take a vacation. In a garden, he finds a bench where he can be alone with his thoughts. He considers his mother Vasundhara’s (Ramya Krishna) wish to tidy up the mess as soon as possible at this period. She didn’t break a priceless piece of china or a broom—her unwanted son did. He wonders in a previous scene if the mother also yearns for him, considering the one-sided nature of love between a mother and son. The solution to this conundrum is revealed.

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This specific scene offers a glimpse into the otherwise unremarkable plot that director Trivikram Srinivas has fashioned, introducing a raw and passionate moment.

It enhances Mahesh Babu’s third partnership with Trivikram, following Khaleja and Athadu.

Guntur Karma wants to be both a popular masala movie and a sentimental family picture. Similar topics have been explored in a number of Telugu films, such as Trivikram’s Atharintiki Daaredi and Ala Vaikunthapurramuloo. In an effort to connect with the audience, Guntur Karma combines fun and emotive components.

To be honest, Mahesh Babu, who starred in Sarkaru Vaari Paata, his last picture, and this one, both continue to be excellent. He gives an excellent performance whether he’s in action scenes, spending time with Shrilekha, or expressing his longing for his mother. But as the narrative goes on, it often gets monotonous and exhausting.

For this movie, Trivikram has assembled a brilliant cast, many of whom he has previously worked with. Sadly, the characters that are allocated to them are shallow and don’t leave a lasting impression. Performers such as Jagapathi Babu, Sunil, Rahul Ravindran, Rao Ramesh, and others are cast in parts that don’t really advance the story. Characters that could be important are frequently overlooked. For example, Satyam (Jayaram), who fades into the background, finds comfort in old songs played on a gramophone after divorcing his wife Vasundhara. The role of the father appears to be overlooked when the mother-son relationship is the main subject of attention.

Not even Ramya Krishna’s persona is very deep, save in reflective periods and mysterious actions. The conversations she had with Mahesh

For two well-known female roles, forgettable characters are assigned. Though Thaman’s music gives situations life, Shrilekha reappears in a decorative role, occasionally revitalizing moments with her dance routines. She even forces Mahesh to acknowledge that he has never danced with such passion in his career, implying that he has reached the pinnacle of his abilities. She is, however, also spotted making reels for Instagram. Meenakshi Chaudhary is given a role who attends to the men’s requirements at home, be it food, soda, water, or whatever else they might want. Who knows?

However, what exactly is Guntur Karma? A family and business dispute that starts in the first section causes problems at home. A severe fire in the family’s warehouse damages Ramanna’s left eye as a young child. Ambitions for politics entwine with mysterious circumstances, forcing Venkataswamy (Prakash Raj) to safeguard his daughter Vasundhara. The 80-year-old man is committed to making sure that his other grandson, who belongs to the same caste, has no trouble moving up the political ladder after decades of hardship. He approaches Ramanna and demands that he sign papers giving up his mother, his land, and his political aspirations.

Since Okkadu, there has been a conflict in Telugu cinema that is symbolized by the masala past of Mahesh Babu and Prakash Raj’s characters. As mentioned later in the story, the showdown in Guntur Karma may not be as exciting. Age-related lines in the plot appear out of place.

One could argue that Prakash Raj’s persona is poorly constructed, but the grandson’s reprimands start even before the whole image is disclosed. The film’s drab atmosphere is exacerbated by action scenes that lack originality and consecutive scenes with muted colors. In Guntur Karma, as in many of Mahesh’s earlier movies, his fair skin tone is mentioned. It’s time for the authors to change their direction; there are more meaningful ways to enjoy a celebrity’s demeanor and appearance. In comparison to Trivikram’s Alavaikunthapurramuloo, Guntur Karma performs better. It isn’t enough cause for celebration, though.

 

 

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