‘SR Kalyanamandapam’ Is Overdrawn, Melodramatic And Misogynistic With A Sliver Of A Story
What SR Kalyanamandapam, with the tagline Est. 1975, wanted essentially the most was a pointy pair of scissors on the enhancing desk. It rides on a sliver of a narrative and packs in a cocktail of segments meant to enchantment to the ‘mass’ viewers in theatres together with melodramatic scenes of father-son bonding. The 148-minute movie is an ordeal.
Kiran Abbavaram made his debut with Raja Vaaru Rani Gaaru (2019), a small-town musical romance that received hearts. In SR Kalyanamandapam, he takes on the obligations of story and screenplay. He is promising as an actor; he has a display screen presence, can emote effectively and maintain consideration. But a movie must be greater than a showreel.
We are launched to Dharma (Sai Kumar) who has wasted himself over alcohol. His high-pitched exchanges together with his spouse Shanti (Tulasi) whom he refers to as Sivagami for her fieriness, are a day by day fixture. The household’s solely purpose for pleasure within the village is S R Kalyanamandapam that was established by Dharma’s father; that’s on the danger of being frittered away. It’s no shock that Dharma’s son Kalyan (Kiran Abbavaram) is tasked with restoring the household’s honour in addition to mend his damaged bond together with his father.
- Cast: Kiran Abbavaram, Sai Kumar, Priyanka Jawalkar
- Direction: Sridhar Gade
- Music: Chaitan Bharadwaj
- Screening: In theatres
But what strained their relationship? Never thoughts. Some time into the movie and it doesn’t appear to matter. Because there are different problematic tropes — just like the hero’s fixation with the heroine’s midriff. The fixation culminates in them watching Kushi (2001). Maybe somebody ought to have advised the movie’s inventive group that it’s 2021 and time to alter the narrative.
Misogyny performs out in the way in which Dharma rebukes his spouse, who retaliates with anger and tears, and in the way in which Kalyan retains objectifying Sindhu (Priyanka Jawalkar).
In a post-interval scene, Sindhu slaps Kalyan and declares that she has by no means reciprocated his advances. Finally one thing about consent! But this happiness is short-lived. In the next scene, she declares her love for him.
Talking of slap, the principal characters preserve slapping one another. I counted six. There may very well be extra, I’m unsure.
Once Kalyan and his pals restore the marriage corridor to its glory and produce again the idea of intimate, private weddings, the story appears roughly achieved. But quickly, Sindhu has a brand new suitor and the movie continues for greater than an hour, unleashing some extra drunken stupors, fights and dances. Oh, there are a number of scenes all by way of the movie displaying the protagonist, his pals, father and plenty of random males usually getting drunk.
The chilly warfare between the daddy and the son additionally has no gravitas. It simply paves means for dialogue-heavy emotional scenes earlier than they patch up.
Even a tune by Sid Sriram on the fag finish can’t resurrect curiosity.
The vastly in style Gangavva is a spectator to the happenings at Dharma’s home, and he or she chuckles away. Then there’s Dharma who usually seems to be for the closest pillar or wall to bang his head. Both these roughly sum up a viewer’s plight.