FILM – Rakth Charitra – 2
Posted by FATEMA H.KAGALWALA on December 5, 2010 | No Comments
FILM – Rakth Charitra – 2
PRODUCER – Ram Gopal Varma
DIRECTOR – Ram Gopal Varma
WRITER – Prashant Pandey
CAST – Vivek Oberoi, Shatrughan Sinha, Suriya, Priyamani, Radhika Apte
MUSIC – Dharam Sandeep, Kohinoor Mukherji, Imran ,Vikram, Sukhwinder Singh,
The gore is back and this time speaks a language a shade higher in intensity and shorn of ‘unwanted frills’ of a story. Gore-for-gore’s sake is the mantra that the Rakth Charitra series embody and the second part boldly takes this forward.
For the uninitiated, the film(s) is (are) a rendering of the true story of the naxalite-turned politician of Andhra Pradesh, Paritala Ravi. It is a revenge drama built in a savage environment of heedless violence and uncontrollable anger. This two-bit emotional high makes Ram Gopal Verma weave four hours of narrative around it with various vignettes and set-pieces of high-octane brutality. In the first film, the world of Pratap (Vivek Oberoi) is shaken out of control when his father is killed by Narayan Reddy. He goes on a massacring rampage and annihilates the Reddy family. The second film has Reddy’s youngest son Surya (Suriya) in Pratap’s shoes, whose world is similarly shaken out of his grasp when he learns of his father’s death at the hands of Pratap. Revenge seethes over the surface and singes to ashes everyone it comes in contact with.
That is all Rakth Charitra – 2 is about. A vague semblance of a story, in which Pratap and Surya locked in a who-kills-more-and-better- battle while knifes, sickles and other sharp objects fly in gay abandon and blood runs like some taps have been let loose and forgotten. Acontextual and without a strong story to back it, this violence loses focus and meanders towards a disinterested ending bringing the film together in a circle of violence rather than the circle of life it intended to portray.
The film rests largely on the broad shoulders of Suriya, the Southern star, whose dominating presence, raw energy and expressive eyes inject a vigour to the otherwise average proceedings. Vivek Oberoi’s outing is far more insipid this time than the last as the camera angles caress Suriya more lovingly than they love him. The rotating, zooming, abrupt, partial, whizzy camera angles, shots and edit pattern add no dynamism to the film and neither does the loud and over-the-top thumping sound effects and music. Every aspect seems attention-grabbing and one just doesn’t feel like obliging.
What more can be said about insincere film-making?
Fatema H. Kagalwala