The head of a family is the most powerful man of an area. He fights for what he thinks is right and this creates lots of enemies for him who want to take revenge. How he deals with problems within his family and external problems as well is in short story of God Father err Sarkar oops Rann, well Rowdy.
Performances: Mohan Babu for its worth puts up or at least tries to put up a nuanced performance for a change. It works when he playing the powerful man but not so when he is the family man. Most of his act is in the first half and has very little to do in the second half.
Manchu Vishnu gets the role of a lifetime, a role that every hero at one point dreams off. But has he succeeded? the answer would be a resounding no. He isn’t even half of his father although he too poses and tries to act all serious. Those are only poses with no depth absolutely in them. Kishore on the hand brings that depth but is unfortunately lost in the Manchu show.
Jayasudha goes about her job in a very precise and calculative manner. Tanikella Bharani who is usually a very reliable actor, starts off well here as well but soon becomes a one dimensional uninteresting and irritating character. Ravi Babu has very little to do in terms of acting. Paruchuri Gopalakrishna in a limited role is alright.
Short Duration of the film.
Usage of the word ‘respect’ Vishnu’s subtle acting
Tanikella Bharani philosophical dialogues
Analysis: God Father and Ram Gopal Varma seem to be inseparable. Like few directors keep on repeating certain motifs in their film time and again creating a separate oeuvre director Ram Gopal Varma apart from his horror fascination has developed this God Father fixation. After every few films he is making a new version of the classic in a different set up. This time he has chosen the Manchu family’s Mohan Babu and Vishnu and a Rayalaseema back drop to satiate his fixation.
The director once again makes a successful carbon copy of his remakes of the classic and that is where the trouble lies. There is absolutely no freshness or life in this retelling. It appears as though the director is going through motions. Everything appears precise and mechanical giving us a very jaded feeling all through. He is technically faithful to the classic story-line but it’s this lifelessness that makes one wish this film were never made in the first place.
The only little interest the film manages to evoke is courtesy of its background score (Sai Karthik) and a couple of well executed action sequences. The production values are decent at best.
Bottom-line: Lifeless Remake