Nayanthara as Prakash Raj's daughter plays a family woman's role with ease. He comes off as a superb performer in the emotional scenes. He looks younger and all the more vibrant, his dialogue-delivery taking the cake. If there are heroism-glorifying lines, there are also seemingly esoteric ones like this: 'Gunde dehanni bathikisthadi, gudi deshanni bathikisthadi', says Balayya when temple rituals are threatened to be violated.īalakrishna delivers an energetic performance right from the word go. M Ratnam's dialogues are mass-oriented for sure. While Balayya's love for Nayan is pure and everlasting, the emotion is not felt thoroughly by the audience. The climax features a run-of-the-mill action sequence. The second half goes on and on because of this. The flashback should have been trimmed by at least 15 minutes. In Kumbakonam where most of the first half is set, everyone understandably speaks in Telugu (a permissible creative liberty), but why have them use words like 'Vanakkam'?
This track must have been inspired by Chandramukhi's Rajinikanth-Vadi Velu track. And even her character comes handy in eulogizing the hero as a God!Īmong the inconsequential characters, Brahmanandam plays a servant who is insecure about his beautiful wife falling for Balakrishna's charms. Hari Priya as Manga is an employee at the hero's mechanic shop and she is known for causing a trail of destruction whenever her employer shouts for her. Natasha Doshi as Dhanya does drugs (she also sings 'Mama ek peg la' once) and it's not clear what was meant to achieve through her character, except give her father (Murali Mohan) an opportunity to go gaga over the hero's virtuous readiness to own up to her sins. The film should ideally have had this caption: 'The lion's roar against infinite injustices'. This is when the four wrongdoings are shoveled down our throat. Nayanthara comes to our hero and questions him about the so many police cases against him. If you can wait for some more time, another scene presents four more instances of injustice. KS Ravikumar must have first discovered the idea in some now-forgotten film during his school days. Imagine what it can be? The case of a traffic jam caused by a politician's dharna.
When the flashback begins, it introduces us to yet another instance of injustice that our hero has to address. By and by, we resign to the fact that the Kumbakonam segment is meant to throw up nothing more than a sub-plot so that one more villain and a couple of more fights could be had. So, before the eighth minute, the film presents not one or two but three instances of injustice. Note: Between the above two time frames, two girls (played by Natasha Doshi and Hari Priya) fall for our enchanting hero.ĭirector KS Ravikumar wanted to show Narasimha as one thing: As the one who fights injustice for good. Why is the twin son? How is Nayan related to Narasimha? Why is a semi-burnt Ashutosh Rana baying for the hero's blood? What becomes of 'Kalakeya' Prabhakar and the ACP? Answers to these questions are found in the second half, wherein a never-ending flashback is thrust upon the audience. To add to the potpourri of a bloody past and the lurking family emotions, Narasimha's son actually has a twin growing with Nayan. An unethical ACP is yet another of Narasimha's dangerous enemy.īut by interval, a twist in the tale comes when we are told that Nayanthara is now married to a known character. 'Kalakeya' Prabhakar bays for Narasimha's blood because he believes that the latter victimized his beloved brother in a hit-and-run episode.
#JAI SIMHA MOVIE CAST DRIVER#
He is now in Kumbakonam, working as a driver with a Dharma Karta, who is played by Murali Mohan.Īs if his extant enemies are not enough, he makes new rivals in Kumbakonam, thanks to his penchant for being the proverbial scapegoat. He apparently comes with a traumatic past. Narasimha (Balakrishna) is an Ek Niranjan with just his little son for his company.
'Jai Simha', starring Balakrishna in the lead role, hits the screens today.
0 kommentar(er)
