Behind the Movie
Fresh from the success of ‘Simha,’ Balakrishna doesn’t want to loose his form while Dasari Narayana Rao working on his milestone 150th project raised the expectations on movie. Audio fared very low and Nandamuri fans are excited to know, how far did this combination work? Let us get into details.
In the Movie
Movie starts with climax episodes of ‘Bobbili Puli’ where a pregnant Jayasudha receives blessings from NTR to give birth for one more ‘Bobbili Puli.’ As we get into the present, Chakradhar (Balakrishna) is a top Telugu hero working on different kinds of roles like Ravana Brahma, Komaram Bheem and a labor union leader while his mother Jayasudha wishes to see his son Chakradhar join the Army and do the service for Nation.
An Income Tax Officer (Kasi Vishwanath) along with his friend Indian Army Officer Jithendra (Murali Mohan) approach Chakradhar with real story of a sincere Army Major Jay Simha (Balakrishna). Inspired by the dedication of Jay Simha, on the same movement Chakradhar raises in patriotic fervor and agrees to portray the role of Jay Simha on the screen.
Flash back of Jay Simha is that, he catches an International Terrorist Abdul Ghani but looses his entire family as politician Dadaji (Nagineedu), Brigadier Kumar (Vijay Kumar) join hands with terrorist groups to escape Ghani from Army custody. In the mean time, Jay Simha also looses his life saving a school from bomb blast but only to be rewarded as Desha Drohi with cunning work done by lady terrorist Raziya Sultana (Neha Dhupia).
Twist in the movie is that, death of Jay Simha is not known to Army and Government as Jithendra replaces Chakaradhar into the position of Jay Simha to catch the terrorists. The character of Jay Simha which Chakradhar wants to portray on the screen comes as a role to live in real life. How did Chakradhar save the Nation from terrorists? How are Dadaji, Kumar, Ghani punished? Did Government commemorate Jay Simha with Parama Veera Chakra? form the climax.
Values of the Movie
Story of this nature is heard and seen years ago. Dasari struck to his old and conventional methods of Screenplay and Direction. Never did Dasari try to match the standards and tastes of present generation audience. Dialogues penned by Dasari were meaningful with preachy messages. Camera work by Ramana Raju was sub standard that we visualize very rarely in Balakrishna’s movies. Editing by Gowtham Raju was okay. Music by Mani Sharma was a total dud including with background score. Production values of C. Kalyan are worst and on many occasions we agree that standards of other B grade movies are better than PVC.
Performance wise Balakrishna gave life to both the characters. Though shades of ageing are visible on the face of Balayya, he is still the best with his trademark mannerisms roaring with powerful dialogues. There are plenty of scenes Nandamuri fans get a chance to blow whistles. Especially during the episodes of Komaram Bheem and Jay Simha taking on Dadaji, Balakrishna showed his impeccable acting abilities. Heroines Amisha Patel has no significance, Neha Dhupia character as terrorist ended abruptly and Sheela is left only to kiss Balayya again and again. Among the others; Murali Mohan was fine, Vijay Kumar impressed with his villainy, ‘Maryada Ramanna’ fame Nagineedu faltered, Jayasudha was okay. Comedy by Brahmanandam, Hema and Ali as spoof to ‘Robot’ was a cheap attempt from Dasari which went on unimpressive.
Out of the Movie PVC
If there is any positive factor from the movie that would provide a bit of relief for general audience and fans, it is one and only Balakrishna. Tremendous acting prowess in NBK is out again and Dasari will get applause for not getting too much into ‘Okka Magadu’ like overt treatment which saved PVC to certain extent. It would be a great guess work if it’s true that Mani Sharma used only his assistants in composing the tunes for this flick. Other than these, C. Kalyan is the main culprit who intended only to secure the fame of producing 150th film of Dasari but never dared to pour minimum amount of money in building some standards to PVC.
First half has few interesting Komaram Bheem, Ravana Brahma bits and an action scene of Balakrishna with Nagineedu’s group where powerful one liners are penned by Dasari. Second half is a routine tale and narration becomes very weak and exhaustive with too many patriotic messages delivered without any need. Overall, PVC is not that worst as ‘Okka Magadu’ or that good as ‘Simha.’ This is just a routine story with obsolete treatment. Box Office predictions wise, Parama Veera Chakra may join the bottom series of Balakrishna.