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Name: Raahu – Unleash the Madness
Genre: Action, Romance, Thriller
Release Year: 2020
Debut director Subbu Vedula starts his film by devoting a few of his favorite filmmakers, including the Coen Brothers. At an essential stage in the narrative, a character talks about The Gatsby Syndrome. Towards the end, once the director has managed to match the parts of the mystery to provide a pretty gripping thriller, he proves that the reference to international filmmakers and literature is not just for the heck of it.
An indie-spirited venture, Raahu banks on its narrative, and the leading lady Kriti Garg is a gift who holds guarantee.
Bhanu, who had been appointed so that she shines bright like the sunlight beams, loses her vision temporarily when overcoming with stress, particularly at the sight of blood. The 123-minute thriller examines what occurs when she must fight for survival by beating her fears.
It requires a little while for the movie to find its rhythm. For example, an action sequence between the cops and Nagaraju (‘Kalakeya’ Prabhakar), looks amateurish concerning its action choreography and other technical aspects. There is bloodshed, an arrest, and a cry for revenge, but it will not move you, not yet.
Bhanu is the policemen commissioner’s daughter (Subbu Vedula doubles up as a celebrity ) who grows up knowing that her lifestyle is under threat. Hysterical blindness notwithstanding, losing her mom as a kid still weighs on her mind.
Shortly, a captive is on the run, and Bhanu is kidnapped. Her narrative is revealed by and by, moving back and forth to show her love with Sesh (AbeRaam Varma), and her present position of being trapped in a car.
The romance, too, develops suddenly before it finds its momentum. There’s the hummable tune’ Emo emo’ from Sid Sriram along with other songs written by Praveen Lakkaraju that iron out the rough edges.
When many movies have problems with the’second-half syndrome,’ this is where Raahu gets its act together. Post period, a nearly hour-long sequence shows Bhanu in a far-flung house, attempting to prevent her nemesis from breaking. Her automobile engineering abilities can also be put to the test.
There are a couple of tropes such narratives can’t escape — like having an ominous-looking character end up being harmless. So when this kind of personality is introduced along with the genuine nature is revealed, it doesn’t appear as a surprise. However, Raahu plays its cards well together with the cat-and-mouse game between Bhanu and the antagonist. An abrupt sisterhood is also formed between Bhanu and Spoorthi, a pre-teen who’s part of the family.
The previous action ties up the different things cursorily mentioned before in the movie — references to snakes acquire a more profound significance, and there’s a subplot involving a minister’s daughter.
Kriti is more exposed and convincing as Bhanu. The banter among Giridhar and Chalaki Chanti who play little time thugs is crude, and the jokes do not always soil, but they come across as creepy enough to communicate a sense of impending danger.
Raahu is an apparent first trial. I wish the film had been more active in setting out its clues such they hide in plain sight and when to allow viewers to connect the dots than explain all of them towards the end.
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