Banner: Kasi Productions
Cast: Srinivasa Sayee, Bhavana Rao, Sithara, Ajay, Rajeev Kanakala, Ajay Ghosh and others
Music: Ron Ethan Yohann
Cinematography: PG Vinda
Edit: Kotagiri Venkateshwara Rao
Producers: Divya Prasad, Ashok Prasad
Written and directed by: Ajay Sai Manikandan
Publication date: Dec 6 2019
‘Madhanam’ has been touted as the first Telugu film to be released only in the US.
Let’s see how the movie fared.
Ram (Srinivasa Saayee) is locked in a room in his house for 14 years, without seeing the outside world, not even talking to his mother because of the tragic death of his father (Rajeev Kanakala). He gets out of his secluded life because of the charm of the beautiful girl Sujatha aka Suji (Bhavana Rao) and starts to like her. She also likes his innocence and sincerity.
A few months later, when he wants to propose to her, she points her finger at a paint she drew on the wall to show her boyfriend’s face. He assumes that her boyfriend is a criminal that the police are looking for and that he must save her.
Who is her boyfriend and how would he save her? And why did he lock himself up for years?
Performances by artists:
Srinivasa Saaye is suited as a youth going through guilt and remorse. As a girl next door, Bhavana Rao makes a good impression. She has the right expressions.
Sithara as mother and Rajeev Kanakala as father are good. Ajay Ghosh’s gay villain character is obnoxious and stupid. Ajay as a police officer and Tanikella Bharani as a church father don’t make much of an impression.
If we have to point out the positive aspects of the film, it is primarily the visuals that are pleasing to the eye. The director has a good visual sense.
PG Vinda’s cinematography is top-notch and his frames are beautiful. Music is okay, not much to talk about. The artwork is decent.
A child locks himself up because of a tragic incident in 2005. He does not know what he looks like in 2019. He has only one friend who regularly visits his room. But the moment he comes out of his room for Suji, the pretty girl in his place, he knows everything about the outside world, including where a bar and restaurant is located and to grab a beer bottle if he’s feeling down. Sounds illogical, right! Such flaws are not limited to these two things, the whole second half of “Madhanam” is unworkable.
The premise of ‘Madhanam’ may have looked interesting on paper, but the screenplay has blatantly irrational points. The girl comes forward to marry him, but does not want to know who he is, where he lives, who his parents are.
When someone falls in love, the first thing they do is try to look good themselves, be attractive to the other person. They are constantly looking in the mirror to check their appearance, but here the boy doesn’t care what he looks like now! And doesn’t want to be captured in a selfie.
Spoilers change! Obviously, the writer and director must be excited at the thought that the hero doesn’t know his face. But this sounds absurd if you think from the girl’s point of view.
Why would a girl like him, what specialties does he possess? Why does she paint his face when he punches her in the face instead of knowing anything about his past, his mental state or his family life?
At the very beginning of the film, it is determined that there is one friend the hero is talking to, but this friend does not meet Suji and informs her about Ram’s problem. Strange!
All the scenes are made for the convenience of the one basic idea we mentioned earlier.
‘Madhanam’ is performed with a poetic touch in the beginning. The first sequences of the film give us the impression that it has a hill station in the background, but only later is it revealed that the place is Hyderabad.
While not much happens in the first half, the heroine’s cheerful demeanor and PG Vinda’s cool visuals make us look forward to the second half.
But the key point is revealed here, which is rather unrealistic and the procedure is exhausting. They are annoying because they are illogical, and also because of the corny narration.
Except for visuals and some first parts, “Madhanam” is an annoying watch. It’s also high time that filmmakers stopped glorifying “sincere love” in which the girl loves the boy for his sincerity, not for his job, his family, anything about him beyond his “so-called” goodness or sincerity. This is absurd.
Bottom line: unrealistic love
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