The screenplay has a bit of everything to cater to all sections of viewers. It’s a relief to see a storyteller get his basics right.
'Purushothamudu' is a romantic action drama directed by Rom Bhimana. (X)
Not all films are meant to alter the grammar of an industry. Some workaround existent tropes, offer a throwback to the past and still provide the satisfaction of consuming a wholesome meal. Purushothamudu is nostalgic in a good way, with the heart of a simple 90s film—where the hero comes of age, finds his lady love, takes on a social issue, stands up against all odds and brings his family together.
Purushothamudu attempts to capture the essence of Ramayana through its well-intentioned protagonist Rachit Ram, an embodiment of all values that the pivotal characters in the epic stood for. A prince, set to take over an empire, is sent to exile (lasting 100 days) by a scheming aunt, owing to a clause written by a family patriarch. Will Ram live up to his promise?
On a surface level, the film resembles Srimanthudu (2015)—where an urban lad, a US returnee, rediscovers his purpose in a village, outgrowing his father’s shadow. However, unlike its privileged protagonist who kept signing cheques (from the wealth amassed by his father) to change the lives of villagers, Ram is on his own, with no baggage.
Rachit Ram is such a do-gooder that he doesn’t wait a moment to get down from a long flight (from London) to find a mole in his father’s company (who’s plotting its downfall). From being an entitled son of an industrialist to a common man stripped of his resources, his life changes in a day. Even at the village he lands in, Ram learns the ropes of farming quickly and wins the trust of natives (and a girl).
Like many Telugu films painted with broad strokes, Purushothamudu gets confused between a well-written character and a flawless hero—it doesn’t offer much scope for Ram to reform himself. Ram is so sorted, wise and righteous that he always ends up doing the right thing— he’s someone who snatches victory from the jaws of death. The aftertaste is less satisfying when a hero isn’t vulnerable.
Amidst the limitations of the story and its familiar trajectory—resembling scores of films like K Viswanath’s Janani Janmabhoomi (1984) and Bapu’s Jackie (1985)—director Ram Bhimana raises the stakes gradually with his sensible treatment. Excepting a couple of vampish women, there’s precision and sharpness in the storytelling sans flamboyant intro songs or ego-boosting lines.
Even beyond Ram, other characters in Purushothamudu are reasonably well-rounded, offering a mishmash of good music, action, romance, family drama and old-fashioned yet effective humour. A couple of scenes where Garikapati Narasimha Rao’s discourse is smartly juxtaposed with the plight of its characters are particularly enjoyable.
More so in the second hour, Purushothamudu repeatedly underlines Ram as a saviour, after he establishes a windmill to pump water in a field, bashes up the baddies to protect the honour of his woman and finds a supposedly innovative strategy to resolve the problems of the farmers (without bloodshed). It alternates between drama, romance and music tactfully.
Ram Bhimana borrows a leaf from entertainers in the 80s, and 90s made by the likes of K Raghavendra Rao and Bapu. The screenplay has a bit of everything to cater to all sections of viewers. Though there’s heroism, it’s believable. Even if there’s action, there’s no gore. The romance is innocent and the humour is clean and free from profanity. It’s a relief to see a storyteller get his basics right.
The references to Ramayana are consistent and not merely lip service to the epic to elevate the protagonist’s stature. Like the mention of Jatayu’s significance (in a sequence where Ram asks farmers to empower themselves), the harikatha (from the popular Seetharama Kalyanam number in 1961’s Vagdanam) and Prakash Raj’s monologue in the climax on tatvas, the spirit of the epic is emphasised effectively.
Gopi Sundar composed the music for ‘Purushothamudu’. (X)
After a viewing of Purushothamudu, it’s hard to point out what exactly works for the film but you come out of the hall satisfied. It’s the case of a decent premise falling into the hands of a clear-headed filmmaker, who isn’t out to change the norms and reminds us of what good ol’ storytelling can be.
Raj Tarun is in top form in what’s his finest performance after Uyyala Jampala (2013)—cool, mature and composed—staying within the boundaries of his role and not going overboard. He shares good chemistry with his on-screen counterpart Hassini, who, besides her good looks, makes her presence felt as a fairly straightforward Ammulu.
Beyond the lead cast, it’s Purushothamudu’s solid supporting cast—comprising Murali Sharma, Praveen, Kousalya and Ramya Krishnan—who keep the flag flying high even when the film doesn’t coast along. Praveen, yet again, proves why the industry should stop treating him only like a comedian. Even while delivering the laughs, he livens up a scene as good as anyone in the business.
While Ramya Krishnan’s Vasundhara merited more depth in characterisation, the cameos of Prakash Raj, Mukesh Khanna make an impact despite their brief screentime. Despite Satya’s roaring form in his recent appearances, Purushothamudu doesn’t make full use of his potential. Brahmanandam in a blink-and-a-miss role barely tickles your funny bones, unlike Brahmaji who brings the house down across multiple occasions.
Gopi Sundar’s songs, even if not instant earworms or chartbusters, relieve us from the cacophony disguised as music in mainstream Telugu cinema. SP Charan’s “Pacha Pachani” is, certainly, the pick of the lot. Cinematographer PG Vinda’s experience comes to the fore in the film effortlessly switching between the city and the village backdrops. Given its done-and-dusted theme, it needed a tighter narrative, avoiding a subplot or two.
Purushothamudu is not a film you may remember for its novelty, but reminds you that a familiar story, when backed by sensible treatment, can still be satisfying.
(Views expressed here are personal)
(Edited by S Subhakeerthana)
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