A weak script lets down the inspirational tale of Srikanth Bolla
12 May 2024 1:57 AM GMT
A still from Srikanth movie
Film: Srikanth
Starring: Rajkummar Rao, Jyothika, Alaya F., Sharad Kelkar, Jameel Khan.
Direction: Tushar Hiranandani
Unlike most other biopics, ‘Srikanth’ deals with the inspirational tale of a visually impaired rural kid who overcomes multiple challenges but does not stop with just showcasing his virtues. The film does delve into the grey shades a few negative characteristics of the principal character. Srikanth Bolla, the AP-born visually handicapped industrialist and founder chairman of Bollant Industries, is not eulogised but is drafted in flesh and blood, cinematically over the top but invariably inspirational if not smirky.
The film starts with Damodar (Srinivas Beesetty) going over the top on being told that he has fathered a son with Venkatamma (Anusha Nuthul). He dreams that his son would become a cricketer with a spirit of Kris Srikkant. Hence, the name. The world comes shattering when they realise that Srikanth is born totally visually handicapped. After the initial resistance, the parents realise that Srikanth is an extraordinarily gifted child. He first goes to a regular school only to face insult and be ridiculed. He is then packed away to Hyderabad to a special school for the visually handicapped. Herewards, he is mentored by Devika Malvade (Jyotika). The journey is typically challenging after his initial schooling. He realises that post-school education does not factor in the visually-impaired. He is thus, compelled to move the district court. Obviously, it is a suit for declaration. In court, he talks physics and meta-physics and soon finds for himself a seat in the sciences and becomes a trendsetter in ensuring that the visually impaired are not restricted in the choices of their options. His next step is again one with bottlenecks. Indian institutions including IIT do not recognise the rights of the visually impaired. After hiccups with the airlines, albeit dramatic, he arrives at MIT Boston for the first time where he has an academia backed by Braille texts. The West is far more conscious and alert to the needs of such persons. Here too, he is the proverbial topper. He meets up with a medical student Veera Swathi (Alaya F.) who is his romantic interest. While he starts dreaming of a career after MIT in the US, it is Swathi who inspires him to return to India. Unfortunately the chemistry between Rajkummar Rao and Alaya F. is so cold that it looks forced upon them.
Welcome to India. His growth is punctuated by template challenges. Some systemic, some prejudices. Fortunately, he meets up with Ravi Manta (Sharad Kelkar) who sets up a small production unit with the assistance of the local businessmen Venugopal (Sridhar Murthy). On the way to his goals and dreams, Srikanth meets up with and is inspired by President A.P.J. Abdul Kalam (Jameel Khan). His first investor is Dr Kalam himself. It is here that the film-maker Tushar Hiranandani adds a few negative traits to the character.
Fighting the system is useless is a constant statement coming from different sources through the film. However, it is trite to state that it is the hero is the one who not only survives but also defies the system. How Srikanth Bolla survives the system to tell a story constitutes the film. Unfortunately, the film tries often to dramatise events and ideas but ends up being over-dramatic. While on one hand it does expose the lack of empathy for the challenged, it also points out subtly to the lack of systemic support. No books in Braille is only an example. The subtle difference between most people having sight but only the exceptional having vision is stated but is lost in the din of mediocrity which characterises the story-telling style. The introduction of Vidya Reddy (Sukhita Aiyyar) is totally devoid of subtility. There is no detailing. Even the saris that she wears do not match a traditional Indian lady politician.
The director does a Sam Pitroda in needlessly presenting Anusha Nuthul as a charred woman. Even Srinivas Beesetty, Sridhar Murthy, Sukhita Aiyyar are all thermocol characters. One would expect that Rajkummar Rao had the wherewithal to carry even a poor script on his reputed shoulder. Unfortunately, not so. He is privy if not prey to a tardy script. Many of his manners are just that. He obviously missed a trick or two, from the likes of Naseeruddin Shah (‘Sparsh’ which even by Naseer standards was brilliant) and Kalki Koechlin (‘Margarita with a Straw’). He is not even as engaging as Kajol was in ‘Fanaa’ and ‘Dushman’. Tushar often faulters. For instance, the litigation in a district court is poor research. The Swarna Rashtra Party office is appropriate for a seventh class school drama. Even the finale acceptance speech lacks the necessary punch. The mannerisms steal the credibility. Even an arguably lesser actor like Shah Rukh Khan gives you better cinematographic moments in his inspirational speech in ‘Chak De India’. It would be a moot question as to whether the inadequacy stems from the script, its handling or Rajkummar Rao’s translating skill sets. Since the latter is beyond debate, the fault must lie with the former. Even the negative shades in the progression of Srikanth’s character are not nuanced as in ‘Shaadi Mein Zaroor Aana’. This notwithstanding, Rajkummar Rao gives the film some great moments. The final scene of his repentance is a Rajkummar Rao special. Jyothika adds a rock-like credibility to the script. It is Sharad Kelkar who survives the overstated script and brings in great sensitivity to the role. He deserves a huge shout out.
The problem with ‘Srikanth’ is what the protagonist states: In India 2 per cent of the people are blind. 98 per cent can’t see.
Starring: Rajkummar Rao, Jyothika, Alaya F., Sharad Kelkar, Jameel Khan.
Direction: Tushar Hiranandani
Unlike most other biopics, ‘Srikanth’ deals with the inspirational tale of a visually impaired rural kid who overcomes multiple challenges but does not stop with just showcasing his virtues. The film does delve into the grey shades a few negative characteristics of the principal character. Srikanth Bolla, the AP-born visually handicapped industrialist and founder chairman of Bollant Industries, is not eulogised but is drafted in flesh and blood, cinematically over the top but invariably inspirational if not smirky.
The film starts with Damodar (Srinivas Beesetty) going over the top on being told that he has fathered a son with Venkatamma (Anusha Nuthul). He dreams that his son would become a cricketer with a spirit of Kris Srikkant. Hence, the name. The world comes shattering when they realise that Srikanth is born totally visually handicapped. After the initial resistance, the parents realise that Srikanth is an extraordinarily gifted child. He first goes to a regular school only to face insult and be ridiculed. He is then packed away to Hyderabad to a special school for the visually handicapped. Herewards, he is mentored by Devika Malvade (Jyotika). The journey is typically challenging after his initial schooling. He realises that post-school education does not factor in the visually-impaired. He is thus, compelled to move the district court. Obviously, it is a suit for declaration. In court, he talks physics and meta-physics and soon finds for himself a seat in the sciences and becomes a trendsetter in ensuring that the visually impaired are not restricted in the choices of their options. His next step is again one with bottlenecks. Indian institutions including IIT do not recognise the rights of the visually impaired. After hiccups with the airlines, albeit dramatic, he arrives at MIT Boston for the first time where he has an academia backed by Braille texts. The West is far more conscious and alert to the needs of such persons. Here too, he is the proverbial topper. He meets up with a medical student Veera Swathi (Alaya F.) who is his romantic interest. While he starts dreaming of a career after MIT in the US, it is Swathi who inspires him to return to India. Unfortunately the chemistry between Rajkummar Rao and Alaya F. is so cold that it looks forced upon them.
Welcome to India. His growth is punctuated by template challenges. Some systemic, some prejudices. Fortunately, he meets up with Ravi Manta (Sharad Kelkar) who sets up a small production unit with the assistance of the local businessmen Venugopal (Sridhar Murthy). On the way to his goals and dreams, Srikanth meets up with and is inspired by President A.P.J. Abdul Kalam (Jameel Khan). His first investor is Dr Kalam himself. It is here that the film-maker Tushar Hiranandani adds a few negative traits to the character.
Fighting the system is useless is a constant statement coming from different sources through the film. However, it is trite to state that it is the hero is the one who not only survives but also defies the system. How Srikanth Bolla survives the system to tell a story constitutes the film. Unfortunately, the film tries often to dramatise events and ideas but ends up being over-dramatic. While on one hand it does expose the lack of empathy for the challenged, it also points out subtly to the lack of systemic support. No books in Braille is only an example. The subtle difference between most people having sight but only the exceptional having vision is stated but is lost in the din of mediocrity which characterises the story-telling style. The introduction of Vidya Reddy (Sukhita Aiyyar) is totally devoid of subtility. There is no detailing. Even the saris that she wears do not match a traditional Indian lady politician.
The director does a Sam Pitroda in needlessly presenting Anusha Nuthul as a charred woman. Even Srinivas Beesetty, Sridhar Murthy, Sukhita Aiyyar are all thermocol characters. One would expect that Rajkummar Rao had the wherewithal to carry even a poor script on his reputed shoulder. Unfortunately, not so. He is privy if not prey to a tardy script. Many of his manners are just that. He obviously missed a trick or two, from the likes of Naseeruddin Shah (‘Sparsh’ which even by Naseer standards was brilliant) and Kalki Koechlin (‘Margarita with a Straw’). He is not even as engaging as Kajol was in ‘Fanaa’ and ‘Dushman’. Tushar often faulters. For instance, the litigation in a district court is poor research. The Swarna Rashtra Party office is appropriate for a seventh class school drama. Even the finale acceptance speech lacks the necessary punch. The mannerisms steal the credibility. Even an arguably lesser actor like Shah Rukh Khan gives you better cinematographic moments in his inspirational speech in ‘Chak De India’. It would be a moot question as to whether the inadequacy stems from the script, its handling or Rajkummar Rao’s translating skill sets. Since the latter is beyond debate, the fault must lie with the former. Even the negative shades in the progression of Srikanth’s character are not nuanced as in ‘Shaadi Mein Zaroor Aana’. This notwithstanding, Rajkummar Rao gives the film some great moments. The final scene of his repentance is a Rajkummar Rao special. Jyothika adds a rock-like credibility to the script. It is Sharad Kelkar who survives the overstated script and brings in great sensitivity to the role. He deserves a huge shout out.
The problem with ‘Srikanth’ is what the protagonist states: In India 2 per cent of the people are blind. 98 per cent can’t see.
( Source : Deccan Chronicle )
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