Crucial weekend for Aadikeshava: Staid revenge drama that’s also unintentionally hilarious
Crucial weekend for Aadikeshava: Staid revenge drama that’s also unintentionally hilarious
In the realm of Telugu cinema, where the pulse often quickens to the beat of mass masala, Vaisshnav Tej and Sree Leela’s “Aadikeshava” is a recent addition that seems to have taken a leaf out of Boyapati Sreenu’s book. The film boldly embraces the elements of larger-than-life storytelling, high-octane action, and dramatic sequences that define the mass entertainment genre. However, amidst its earnest attempt to emulate Sreenu’s style, “Aadikeshava” occasionally veers into the territory of unintended hilarity. Some segments of the film come across as a playful spoof, perhaps unintentionally tickling the audience’s funny bone.
The film’s narrative, though draped in the grandeur typical of mass masala, can be seen as a double-edged sword. While it strives to capture the essence of this popular genre, there’s a fine line between homage and parody that “Aadikeshava” occasionally blurs. The moments that were perhaps meant to be high-octane and intense may elicit unexpected laughter from the audience, creating an unintended comedic undertone.
Despite its occasional foray into unintentional hilarity, “Aadikeshava” could find its place among those films that manage to strike a balance between paying tribute to a genre and injecting a fresh perspective. It’s in these moments of playful deviation that the film sets itself apart, offering a unique viewing experience that blends the familiar with the unexpected. Whether intentional or not, the film’s ability to evoke laughter alongside the adrenaline of mass masala is a testament to the dynamism of Telugu cinema and its ever-evolving storytelling landscape.
In the Telugu film “Aadikeshava,” directed by Srikanth N Reddy and featuring Panja Vaisshnav Tej, Sreeleela, and Joju George, various lenses can be applied to interpret its narrative. On one hand, it could be seen as a throwback to the 1990s and 2000s style of Rayalaseema revenge action family drama. On the other hand, it leaves viewers pondering whether the film aimed for a full-fledged mass action drama or if it intended to straddle the line between mass entertainment and a spoof of mainstream tropes. Moments within the movie oscillate between paying homage to Boyapati Sreenu’s mass masala style and offering both intentional and unintentional humour.
The initial segments of urban romance and family dynamics follow a conventional mainstream template. Balu (Vaisshnav Tej) leads a carefree life, doted on by his mother (Radhika Sarathkumar), while his father urges him to take on financial responsibilities. The film introduces clichés only to mock them, as seen when the father compares their relationship to a television soap. Yet, the narrative doesn’t shy away from exploring other familiar mainstream tropes.
Chitra (Sreeleela), the heroine, is portrayed as a benevolent young woman, but her altruism and CEO status remain somewhat ambiguous. The film weaves in sequences that play with typical film industry scenarios, where being slightly woke seemingly secures a high-paying job. The story takes a turn at the intermission, shifting from an urban drama to a Boyapati-style mass action in Rayalaseema, promising a collision of Balu and Chenga Reddy’s (Joju George) worlds.
The ensuing events involve intense bloodshed, fiery confrontations, and a shift towards addressing societal issues like child labour, education, domestic violence, and women’s empowerment. The narrative also introduces a political angle involving a Shiva temple. Despite attempts to infuse depth, characters played by Tanikella Bharani, Sadaa, and others come and go without leaving a significant impact.
Vaisshnav Tej strives to embody the mass hero persona, but the film’s attempt at delivering a riveting revenge drama falls flat. Sreeleela’s dancing skills, while impressive, can’t salvage the overall monotony. The film attempts a nod towards empowerment when Chitra asserts her choices, but later relegates her to a bystander in the Rayalaseema saga, primarily present for a pre-climax mass dance number.
Clocking in at 129 minutes, “Aadikeshava” is relatively short, offering a slight reprieve. Towards the end, a twist may leave viewers questioning if the film’s subtle humour was intended to be a joke on the audience.
