Parugu - 5/10

Parugu is not a run of the mill story but it is like a run on the hill, like a juggling jogging.

What is it all about ?

It is all about eloping. Hero supports it initially, he too thinks of eloping but ee lopu realizing the pain of the Papa(Father) and decides to leave his papa(girl). The finishing of the story can be answered even by a kindergarten telugu audien who is used to watching telugu films.

Highlights:

– Story: The basic story plot is definitely interesting. There are many films based on this point like Santosham, Chirunavvutho..etc, but the way Bhaskar designed it from the friend’s side who usually help a couple in eloping and the parent’s side is noteworthy. We have seen many love stories but the real kick in this story is when the hero, who is bashed up for helping a couple, he himself falls in love and that too with the sister of the girl, whom he helped in eloping.

– Music: Most of the songs are good on repeated hearing. Though it is not a master piece but its a piece with some matter in it.

– Picturisation of the songs is also very good. Introduction song is cool. Almost in all the songs Allu Arjun has shown his mark of ease in dances with some exceptional movements here and there.

– Some scenes are very good.

1) All the scenes involving hero’s intelligence are very well written. The strategies hero uses to

a) Check out all the girls in the village.

b) Bring Heroine to City.

c) Bring Heroine to his home.

c) Talk to heroine even when surrounded by many goons.

are all impressive.

2) The way hero saves the eloped couple and gets them into a running bus, is shot superbly.

3) The scene in which Prakash Raj find’s his first daughter in a bus.

4) Interval card: Bringing in all the three important characters into one frame is good.

5) The scene in which Prakash Raj opens up explaining his grief is a terrific one.

6) Satires on friends who help lovers are good.

7) Using “Tellaarindo maavo maava” ringtone in the intial chazing scene.

8] Some characters are good like

a) The one uttering : “ippudu mana position yenti sir ???”

b) The one asking her hubby “ee chokka maarchukondi” and the scene in which that chokka comes in when a photograph is taken.

9) Prakash Raj trying to keep Allu Arjun beside him all the while in the climax scene.

– Dialogues:

Some of them are good like:

1) Heroine to Hero: nannu choosina tarvata nuvvu aagaavannaavu. ninnu choosaake nenu kadilaanu.

2) Hero with Prakash Raj:

ee pelli yekkada aagipotundo ani meeru bhayapadutunnaaru…
ee pelli yekkada jarigipotundo ani nenu bhayapadutunnaanu..

3) Prakash Raj:

kallu moosukuni bratike chotiki pampalanukunnaa kaani kallato choodaleni ilaanti chotulo vuntundanukoledu.

Lowlights:

– Screeplay: Bhaskar’s Bommarillu’s biggest asset was it’s screenplay and it is the biggest liability of Parugu. Strange to see, both coming from a single person and in consecutive films. This story has the stuff to be moulded into an extra ordinary film but Bhaskar completely lost his ground in penning the screenplay. It is totally an uninteresting execution of scenes. He locked the hero in a shed and tried to run love track which backfired. There are many repetitive scenes which could have been avoided. He could not dwell well the well of emotional quotient that was possible.

– Characterizations: It is obvious that Bhaskar didn’t work much on the characterisations in Parugu. In Bommarillu each character was given a special identity. Heroine’s character in Parugu is one of its weakest ones. It is an Apa-haasini character. She is like a doll with an open key. Prakash Raj’s character is not upto the mark.

– Dont know if it was intentional but right from the posters everywhere a dull look has been sported. Allu Arjun’s looks are also made to look dark when compared to his vibrant looks in films like Arya. It is also uncomfortable to watch the protagonist in a single constume for nearly 50% of the film.

– Performances:

Allu Arjun: Though he tried his best to bring in as much loveliness and liveliness, he too looked dumb in many scenes. It is all because of poor direction. He looked odd in some frames like in the first song he opens his mouth for a very long time in a dance sequence. It would be nice if he can avoid such things in his future films.

Prakash Raj: It is an utter disappointment from an actor like him. Bhaskar failed miserably in extracting awesome performance from an actor like Prakash Raj. Right from his hairdo which is odd, this most important character has been handled ineffectively.

Sheela: This film is a perfect example to showcase that she doesn’t fit into such characters.

– The way Toilet comedy is used in the starting scenes itself puts off many audience. It is so pathetic to see a pleasant scene of hero encountering heroine in the middle of this toilet trauma. Added to this similar scenes are used wherever, whenever unnecessary in the film. In AMAV too Selva Raghavan used it extensively and Bhaskar seems to have got inspired by this mediocre stuff. It would be great relief to the audience if such scenes are avoided in all village backdrop films.

– Unscrupulous behavior of Poonam Bhajwa with her father. 80% percent of the film runs on finding her and when they find her, it results in further confusion. The way she treats her father is badly written. This gives wrong signals to youth. It would have been nice if they had shown her realizing her mistake and asking her father to forgive them, atleast by the end of the film.

– Hero-Heroine’s love track is meaningless. Falling in love just by watching into eyes and feeling the love when hero utters one dialogue explaining his house arrest cameo are unconvincing.

– Sad tone of the film right from the beginning added salt to the writer’s fault.

– Climax: Climax is the biggest lowlight. There was scope for making the audience ‘cry’ to the ‘max’ extent but Bhaskar didnt utilize it as he used it in Bommarillu. This made this film look like a Bomma(Film) with Chillu(Hole) and without a soul.

– Back ground score: It is strange to see the maestro of BGM, Mani Sharma coming with some ok kinda BGM. Bommarillu was boosted like anything with marvelous BGM by Devi. This is not the case here. It failed completely in setting the right tone for the film which assited in the debacle of the whole setup.

– Unnecessary references to Chiru’s family are also drawn especially the Arya samaj’s scene. It is strange to see such things coming from Chiru’s clan itself. They did’t add to the film but made them look odd.

– It is a slow motion Parugu. Slow motion looks good at some instances but if it is carried through out the film it doesn’t drag interest.

Final Touch:

Bhaskar, who started this project after basking on the success of Bommarillu, with enormous confidence, may be over confidence failed miserably in writing a complete script with feel in it. When compared to Bommarillu it is no way near to it. Bhaskar showed everyone, the making of a wonderful film through Bommarillu and this time he shows us, the making of a blunder full film through Parugu. He gets in to the list of directors who could not clear the hurdle of second film syndrome.

Allu Arjun anticipating best actor award and Prakash Raj claiming his role as his career best one are all ridiculous remarks.

Final judgement that the writer concludes is:

If you love some one and decide to Run then stop, think and sacrifice your love for parents. If parents realize your sacrifice and unite you then it is ok or else bid farewell to your love. This is confused conclusion and so the film is. Except the basic plot and some scenes there is nothing much to rave about it.

Parugu is like pullati perugu. Everyone wishes to have perugu as a part of meal (here can be read as entertainment) but after tasting a bitter one, none prefers to consume it.

‘Re’-'view’ing is the case only in a relaxed mood. You can watch Parugu relaxing on a parupu.

This film falls short of expectations owing to the lack of explorations.

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