‘Konda’ movie review: An unintentionally hilarious film from Ram Gopal Varma


Ram Gopal Varma’s ‘Konda’ is yet another film where his experimental techniques result in a bizarre result

Ram Gopal Varma’s ‘Konda’ is yet another film where his experimental techniques result in a bizarre result

When Ram Gopal Varma ventured into Telugu cinema in the late 1980s and then made his foray into Hindi cinema, he redefined the then prevalent methods of filmmaking. His unconventional storytelling techniques inspired aspiring filmmakers. However in recent years, many of his films have ended because experiments have gone wrong. his new telugu movie condaInspired by a chapter in the lives of politician couple Konda Murali and Konda Surekha, here is another quirky experiment.

Taking a step back in the 1980s and 1990s, when the sociopolitical politics of Warangal and surrounding areas were linked to the Naxalite movement, RGV traces the journey of Konda Murali and Surekha from their college years to their entry into politics. Put it. Thigun, formerly known as Arun Adith, is portrayed as Konda Murali and Ira Mor as Surekha. Prashant Karthi plays the role of Naxal leader RK, who was a close aide of Konda Murali.

Konda Murali is portrayed as an angry young man who clashes with wrongdoers and thrashes them to death. Surekha doesn’t take much time to shine, thanks to her skills on campus. In the world of RGV conda, there is little room for characters without courage. As Surekha, Ira More has her heart on her sleeve, whether it’s at a college fest or after that when she helps Murali out of difficult situations. Tulsi is said to be acting in a peculiar way as Murali’s mother. In an opening scene, she asks Murali to leave her cinematic anger behind. How does one define his anger though? Instead of coming across as an adventurous mom, she’s asked to act as if she’s part of a horror story in which you can’t predict her next move.


Cast: Thrigun, Ira More, Prudhvik

Direction: Ram Gopal Varma

Music: DSR Balajik

Slowly, the sound design and cinematography moved into horror film territory, regardless of whether the story is a political drama, making it all unintentionally hilarious.

In one scene, Murali and Surekha ask a character to leave their young child in their care while he is on a mission to set the score. The girls are in his care, and a stunt sequence plays out elsewhere. The background score fits Twinkle Twinkle Little Star as a horror film. In one hospital sequence, elevator announcements are made louder (even when the elevator is closed), loud telephone rings (though of no relevance to the sequence) and another stunt sequence. The end is represented by the temple bell. Then again, it has no relevance.

If the sound is used in a strange way, the music is no different. Lines that are neither prose nor lyrical are set to music when the villagers employ someone; A similar format is used later when Naxalites surround the police. The music composition, lyrics and voice are amateur at best.

The camera angles also become tedious as the film progresses. Sudden, jerky movements between characters during an argument, or the camera is watching the actors from under tables, chairs, you name it…remember how Amitabh Bachchan was framed while sipping Tea from a saucer government, We get shots similar to Pridhvi, who plays a politician, and of course, the result is both harrowing and funny.

How much? conda What is real is a debate for another time. It takes a lot of patience to sit through it as a film.

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