If you are entering a theater to watch this, then you obviously are the kind that
enjoys drama and emotions mouthed out energetically, and on that front you aren't
disappointed. If you are the kind that enjoys classy narration with subtlety being
the theme of expression, however, then you would not enter a theater to watch
this, and you wouldn't be disappointed for that. This is strictly for the former,
and definitely not for the latter. We mean, you either dig senti films with talkative
characters, or you don't. There are few in-betweens.
The story was last original when Pandanti Kaapuram was released 4 decades
ago. It was last re-presented 4 weeks ago when, in Maa Annayya, Rajashekhar
sacrifices his life's desires, including his girlfriend, to bring up his brothers
the hard way.
Working harder than that and even showering the love and affection of a mother
(as he claims repeatedly in the film), Srihari tries to outdo Rajashekhar in this
hackneyed family drama. But with his cultivated mannerisms and forceful dialogue
delivery, he provides a fast pace to the film, the absence of which is Maa
Bangaru Sundaraiah (Srihari), an attendant in a bank, shoulders the responsibility
of bringing up his brothers as he has promised to his mother on her deathbed.
Though he is the second of three brothers and a sister, the mother chooses him
as she believes that the eldest is the innocent kind. Sundaraiah brings up his
kin so lovingly that they address him as daddy and not as bhayya! His love
for his brothers Sambasiva Rao (Aahuti Prasad) and Venkateswara Rao (Brahmaji)
is so unselfish that he sacrifices his job in favor of his younger brother, his
provident fund money for his elder brother's business and his pension for his
The brothers are the usual greedy type who, when the family's position gets tough, try to disown the brother and his wife. Soon realizing his folly, Sundaraiah decides to teach them a lesson. And so he sells his house for a handsome amount of Rs 70 lacs and starts living in opulence, refusing to share the money with his brothers. The latter, in a fortuitous turn of events, lose their riches and are on the verge of penury. Do we need to tell you the rest?
Srihari excels as the Big Brother, nay, Big Daddy, and the in-house dialogue writer
comes up with some good lines that perfectly suit his image. Srihari is slowly
shedding that rattling nature of dialogue delivery, so the film is easier on the
ears compared to his earlier ones.
Deepti, as Srihari's wife, acts well, considering the fact that this is her first
film. Then there is Kota Srinivasa Rao who acts like the snake in the grass to
separate the brothers. A couple of dialogues mouthed by him are interesting. This
is the first: Chevitodi mundu Sivaji Raja paadinaa okate, Ilaya Raja paadinaa
okate. Then try this, Godavari pongi voollo vaallu ediste, gattu meeda
pettina naa sabbu edi andata neelaantidi.
This is strictly for senti and Srihari fans.