– REEMA CHHABDA
Story:
The Telugu film directed by Radha Krishna Kumar and dubbed in Hindi is based on a narrative by Chandrashekhar Yeleti. Aditya (Prabhas) is an Indian Nostradamus who has the ability to read the lines on a person’s hand and view exact future visions. Aditya flees to Rome after telling Indira Gandhi that she will declare the Emergency in 1975 before she has even considered it. With a Louis Vuitton suitcase, Aditya is having a great time on the Continent, slaying women with a single glance and living the life of a king.
Aditya is a self-proclaimed “flirtationship” guru who refuses to commit to his horde of female fans. When he meets Prerna (Pooja Hegde), though, he is forced to reassess his position. Aditya’s faith in astrology is strengthened by the knowledge that her time on earth has been cut short. He has taken her hand in his. He understands that doctors, diagnosticians, and even medical science as a whole cannot match his ancient wisdom.
Technical Department:
Radhe Shyam is prettified nonsense that tries to pass itself off as a serious investigation into life and death, destiny and human endeavour, palmistry and science, and love and loss. The undeniably superb work that he and the visual effects team produce is rendered ineffective in the absence of a palpable and adequate context for all the superficial ‘beautiful’ on show.
Despite the fact that the 142-minute film requires you to suspend disbelief, it’s difficult not to let your thoughts wander as scene after scene tramples common sense in favour of miracles. Aditya, who is described as the ‘most good-looking person’ is also a superhero who can check himself into a hospital after a bad mishap. Prerna, played by Pooja, is about as believable as a doctor as Bhagyashree is for Aditya’s mother.
Performances:
Of course, Prabhas’ screen presence is terrific, but he is relegated to being sub-par because he is trapped in a setting that makes little use of what he brings to the table. Radhe Shyam’s final sequence allows Prabhas to slide into action-hero mode – despite the fact that he isn’t fighting a human foe – and this is where he seems far more at ease than at any other moment in the film.
The film wastes a lot of good performers by having them just stand around and say a few lines. Sachin Khedekar, on the other hand, has a decent character. Jayaram, Jagapathi Babu, and Priyadarshi are all squandering their talents. Murali Sharma is the one who wastes the most time. Kunaal Roy Kapur and Bhagyashree had little to do with the film and were probably brought in to provide recognised faces for Hindi audiences.
Verdict:
Radhe Shyam is an ill-conceived love story that is difficult to understand. If the hero is in the details, he’s all over this film, which appears to establish that the border between blockbuster and mediocrity is razor-thin.
RadheShyam
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