By Our Special Correspondent
Vennela (Sai Pallavi) grows up in a home where folk singing is respected. A street ballad played by her father, Sai Chand. After reading a book of revolutionary poems written by a Maoist named Aranya, Vennela immediately falls in love with him.
Comrade Ravanna aka Aranya (Rana Daggubati) is a commander leading an armed gang of Nasalizes. He is most wanted by police. Vennela wants to live with Ravanna. She runs away from home. The film is about what happens on her journey to meet Ravanna, what happens after she joins his movement and how it all ends.
Analysis:
Writer-director Venu Oodugula is inspired by the real-life story of Sarala, who joined a Maoist band in the early 1990s. The film pays tribute to her by sprinkling newspaper clippings on the screen before the closing credits.
Described as an epic love story, 'Virata Parvam' begins with the birth of Vennela amid an armed battle between the Maoists and the police. The episode is topped off with a poetic ending featuring Niveda Pethuraj in a cameo. In a simple format, the song is described as being played in the context of her adolescence, puberty and entry into adulthood.
To the film's credit, Rana Daggubati patiently stalls the entry. When he comes on screen, he gets a slow-motion introduction for Vennela to enjoy along with him. The screenplay was written to show Vennela's feelings towards Ravanna at every turn. The film avoids clichés, much to the extent of the circumstances that would have inspired a low-level director for routine song and dance moments featuring Vennela and Ravanna.
The second half takes a less traveled path, introducing elements that are not part of the run-of-the-mill story. The backdrop of Naxalism, the characters of the rebels (from Ravanna to Priyamani's comrade Bharatakka and Naveen Chandra's comrade Raghu), the situations (including Shakutala's teacher played by Nandita Das and a few others), and the violence are used to raise the stakes.
Dani Sanchez-Lopez and Diwakar Mani crank the camera for different parts. The gun battles between the police and Naxals need better operational direction. But they get proper treatment from the cinematography department. Suresh Bobbili's BGM would have been better in the hands of a deliberate sound designer. The hard work shows but the craftsmanship was even better.
The run-time of the film does not shoot beyond tolerable limits. 150 minutes long (including the end credits) to speak in the binary language of Naxalism-state is neither extremism nor moderation.
Sai Pallavi's magnetic performance fueled the flame of 'Virata Parvam'. Her presence is inch perfect in songs including 'Nagadarilo'. Admirably, she dominates the entire film, while Rana is relegated to an insignificant part in the first half.
The last 15 minutes are a beautiful stretch, with the storyline reaching its completion. The intrigue that has been built hitherto pays off here.
The title needs a better justification. A fine subplot of exile and counter-strategy should be woven in to enrich the second half.
Verdict:
'Virata Parvam' is an honest effort with an excellent Sai pallavi. Set in the early 1990s, this period drama has the stamp of director Venu Oodugu. Its commercial success is in the hands of the audience.
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