'Satyabhama', produced by Bobby Tikka and Srinivas Rao Takkalapelly, will be released in theatres on Friday. In this section, we are going to review the crime thriller.
Plot:
When ACP Satyabhama steps in to assist a distressed wife, she quickly discovers that the woman's brother has mysteriously disappeared. Suspecting a deeper, more sinister plot, she decides to pursue the case despite opposition from a corrupt officer within the police department. The investigation escalates as suspicions emerge of a potential terror plot involving the son of a powerful politician. Determining who is innocent and who is guilty becomes a complex challenge for Satyabhama.
Performances:
Kajal Aggarwal's chemistry with the ensemble cast, particularly in team scenarios, adds a semblance of dynamic to the narrative. Her no-nonsense demeanor makes her look the part of a seasoned cop. Ankith Koyya gets to play an important role that slowly gives way to an underdog waiting in the wings to seek his comeuppance.
Naveen Chandra portrays Satyabhama's calm and composed husband, skillfully avoiding melodrama even when the script and background score suggest otherwise. Harsha Vardhan, Prakash Raj, and Ravi Varma take on roles that are unfortunately underdeveloped.
Technical aspects:
The music by Sricharan Pakala is not particularly impressive; in fact, it might be considered excessively loud. In today's era, it's puzzling why filmmakers believe such a soundscape would resonate with audiences. In terms of background music, 'Satyabhama' ranks as the second loudest film of the year, surpassed only by 'Razakar'.
Vishnu Besi's cinematography lacks sophistication, while Kodati Pavan Kalyan's editing fails to simplify the inherent complexity of the script. Additionally, the production design does nothing to enhance the thrills.
Post-Mortem:
The film is directed by Suman Chikkala. The screenplay is written by Sashi Kiran Tikka of 'Goodachari' fame. The story has been written by Ramesh Yadma and Prashanth Reddy Motadoo.
The film would have been compelling if the lead actress had executed the action sequences with impeccable skill, whether in fighting, driving, chasing, or tactical maneuvers. Additionally, her interactions with colleagues, suspects, and other characters feel inauthentic due to the overly sanitized nature of her characterization. The screenplay seldom demonstrates cleverness until the pre-climax phase.
While the film maintains focus on the central plot, much of it remains underwritten. Given that much of the plot's weight relies on characters like Iqbal, Divya, and Yedhu, the writing in the initial segments should have been significantly more impactful, letting the characters register themselves in the minds of the audience.
The pot acquires heft in the second half. And this is where the film actually comes into its own. About thirty minutes of the second half, including the climax, feel authentic.
Closing Remarks:
'Satyabhama' is not your perfect crime thriller.
