Story: Tensions are high in Ramasagaram and Siripi after a sequence of events cause the school-going son of an underprivileged farmer killing an upscale landowner. Will his father find how to save lots of his family?
Review: Narappa bears the load of Srikanth Addala retelling an already successful story achieved by Vetrimaaran with Asuran. It also releases just a couple of days after the 36th anniversary of the Karamchedu massacre which saw six dalits killed, three dalit women raped and lots of displaced by the overlords within the village on July 17. a bit like within the massacre that is still fresh on people’s minds, a sequence of events cause bloodshed, tears and pain within the film.
Narappa (Venkatesh Daggubati) is an ageing alcoholic farmer who prefers to show the opposite cheek instead of fight back and get up the oppression him and his peers face within the village. Unbeknownst to his hot-headed sons Munikanna (Karthik Ratnam) and Sinappa (Rakhi) he features a reason for being the way he’s . What they also don’t know is that he features a painful, violent past and can attend any lengths to stay them safe. an upscale landlord Pandusami (Aadukalam Naren) wants to grab their three-acres of land to line up a cement factory despite already owning most of the land within the village. When Narappa’s eldest son Munikanna, egged on by his uncle Basavayya (Rajeev Kanakala) and mother Sundaramma (Priyamani), refuses to place up with the caste disparity within the village, he triggers a sequence of events that see his father fight to save lots of the family.
In this adaptation of Poomani’s acclaimed novel Vekkai, Srikanth Addala gets out of the temperature of his usually bright and happy family dramas. He stays faithful the first film Asuran, even going as far on remake it scene-to-scene, frame-to-frame and dialogue-to-dialogue. While the word caste is unuttered for the foremost a part of the film, it weighs heavy on not just the storyline but also the way characters are treated. It’s clear when a group of individuals aren’t allowed access to land, water and even footwear that quite ‘class disparity’ (as many wish to whitewash it) is at play here. Narappa has lost tons in life and lives in constant fear of losing the piece of heaven he has created for himself. He’d rather sort things out amicably than get up to powers that be and risk losing everything.
Venkatesh shoulders the film for the foremost part, feeling comfortable playing his part because the ageing alcoholic patriarch who is consistently underestimated by those around him, including his circle of relatives . He pours life into it, especially within the emotional and fight scenes that demand tons of him. it’s however odd to ascertain him with the very young Abhirami. Priyamani, Karthik Ratnam, Rakhi, Rajeev Kanakala and remainder of the cast also provides it their all albeit they falter sometimes . Karthik Ratnam and Raajev Kanakala especially stand out while Nasser and Rao Ramesh feel miscast. The fight scenes choreographed by Peter Hein and therefore the familiar BGM from Asuran composed by GV Prakash Kumar lend to Narappa’s desperate bid for the survival of his family. Mani Sharma’s music too does its bit.
Narappa is familiar territory for those that have seen Asuran. it’d not be as smooth because the original thanks to a number of the performances by the supporting cast, but it manages to urge the message across loud and clear. The casting of Venkatesh Daggubati especially for the lead role may additionally not sit well with everyone, seeing as tone deaf. For those that haven’t seen Vetrimaaran’s work, this is often another film just like the recent Uppena, Colour Photo, Palasa 1978, Dorasaani, et al that affect the topic well. provides it an opportunity if you don’t mind watching a movie that forces you to seem at your own prejudices.