Yevadu is a hit, but no use!

Only one percent of movies prove to be successful at an average per year. So whoever delivers should be in great demand. Most of the directors will be chased by heroes and directors after they score hits for the same reason. However there is one director that is not very much in demand in spite of delivering the only hit of 2014 till now.

That director is none other than Vamsi Paidipally, who scored a decent hit with Yevadu, which went on to collect a worldwide share of over Rs. 47 crore. Vamsi's past two films Yevadu and Brindavanam were good hits, but he has no takers at the moment. Although Yevadu is a successful film, Vamsi's style of filmmaking and his ideas are not up to date.

Vamsi follows a formulaic template and doesn't try to put a stamp of his own on his movies. There are many directors that follow the same formula and most of the heroes are not keen on working with them unless they are desperate to score a hit. This is the reason why Vamsi is still on the waiting list of many star heroes. He took more than three years to make another movie after Brindavanam and it looks like he will have to wait for long before he signs his next too. 

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'Paisa' Review: It's Like Rupee Value

Film: Paisa

Rating: 2.5/5
Banner: Yellow Flowers
Cast: Nani, Catherine, Siddhika Sharma, Charan Raj, Raja Ravindra, Bharath, Tabar, Raju, Duvvasi Mohan, Harikrishna, Upen Reddy and others
Music: Sai Karthik
Cinematographer: Santosh Rai
Editor: Thyagarajan
Director: Krishna Vamsi
Producer: Puppala Ramesh
Release date: 07/02/2014

After the disastrous ‘Mogudu’ director Krishna Vamsi is teaming up with hero Nani who was last seen in ‘Eega’ and was desperate for getting onscreen. Let us see whether this combo worked or not.

Story
Prakash (Nani) is a streetsmart Sherwani model in the old city who believes that money rules the world. His dream is to earn 1 crore and settle. Noor (Catherine) is a girl in the neighbourhood who loves Prakash to the core but he doesn’t acknowledge her feelings. One day Prakash comes across Sweety (Siddhika), daughter of a wealthy politician (Charan Raj) and feels she is his ticket to settle in life. But one incident happens and that ends up with Prakash and Noor on the run along with huge money bags belonging to Sweety’s father. How that happens and where it leads forms the rest of the tale.

Performances
Nani is the cynosure of the entire movie and he carries it on his shoulders with responsibility. His ease and dialogue delivery makes him a natural performer and he delivered it without a hitch.

Catherine is a deserving beauty. She is the perfect package of attraction and sex appeal. Most of her feelings are conveyed through her eyes and she fits the role very well.

Siddhika Sharma was there for the visual feast and she did justice to it. Good to see Charan Raj back in action and he was good. Bharath Reddy was effective.

Raja Ravindra stood out with his role. Subrahmanyam was adequate. The guys who did Nani’s friends roles gave a committed act. Others filled the gaps and added value.

Highlights

• Screenplay
• Cinematography
• Background score

Drawbacks

• Second half
• Familiar concept
• Insufficient entertainment quotient

Analysis
Whether it has to do with the DNA of those who belong to Ram Gopal Varma’s school or it was the case of pure grit and determination to score, the genre of racy thriller laced with crime and practical greed comes really smooth and fine with some filmmakers.

Krishna Vamsi who was in hibernation since quite a while and gave a massive bomb with ‘Mogudu’ seems to have attempted his comfortable genre. 

As such, this film tends to give a déjà vu feeling since we have already seen something similar in ‘Swamy Ra Ra’ but there are those flashes of brilliance that come from KV which is his unique signature style.

The scene composition, camera angles, slow motion shots and the total color of the film is very appealing to the eyes. 

However, the amount of energy and adrenalin he has pumped through his screenplay required more strength. Though commercial masala is part of this product, Krishna Vamsi has not forgotten to display his philosophy of life through certain scenes such as Nani giving Gyan to his friends about the duration of love and how real life consumes it with daily responsibilities and how money is the spinal cord for every happiness.

There is also that ruggedness in certain characters which has been seen in his earlier ventures like ‘Sindhooram’ ‘Antahpuram’ and others.

The opening few minutes of the film doesn’t waste any time and gets the audience into the story. It is not until the interval caption that one realizes that first half is over.

But trouble begins in second half. It could not sustain the same speed and had a dip which eventually played the spoilsport.

The songs were more forced into the situation to kill the time.

The RR was louder than required and the focus was more on action than providing balanced entertainment.

The director could able to bring in interest in a few scenes but suddenly dips down.

Overall, Krishna Vamsi has tapped the element of human greed for money so while it appeals to the masses it doesn’t have enough for other genre of audience to like it.

Bottomline: Average treat

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Will 'Paisa' pass out Vamsi ?

After Puri just passing out with 'HA', now all eyes are focused on another senior director Krishna Vamsi, to see whether he could end his dry run at the box office with "Paisa". Surely, industry bigwigs are divided over the Vamsi's delivering a hit, since few claim he has lost his touch, while a big number feel that he has it in him to score a blockbuster. 

Because they think that Vamsi's forte is 'hard hitting movies' like "Khadgam", Anthapuram" and now he has taken on a entire political class and their craving for ill gotten money. Briefly, its about a stacks of cash locked up in a car and how politicians go to all out and indulge in inhuman acts to retrieve their black money. So, the theme is truly in the comfort zone of maverick director, since in T-town any director is as good as his last hit, so Sindooram director has to prove himself?

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