Sasi Rekha Parinayam

Extra-ordinary performance by Genelia.You would see an entirely different Genelia in this film. She did not wear any make-up. She is completely child-like and playfully innocent. It appears like she dubbed her own voice in certain scenes of the film. Her hysterical performance when she is slapped shows another shade of her. And her performance in the scene in which she banters after getting drunk is very good. She gave wide variety of expressions in this film. Tarun plays the second fiddle. But his performance in the hospital scene in the climax is ultimate. Ahuti Prasad scores again in this film. But his usage of expletives at end his dialogue is little discomforting to ears. Subbaraju dons a refreshing (away from his usual roles) role in this film. He is excellent. Paruchuri Gopala Krishna is extremely good as the villainous elder. Abhi did a significant role. Monali Chowdary is good in a cameo. MS Narayana is excellent in the tax-payers episode. Vamsi (Paiditalli from Happy Days) has a small, but interesting role. Story of the film has nothing to do with Jab We Met film but for a couple of slight references (heroine mouthing abuses on phone and the beginning notes of Edo The story of the film is simple. Hence it is very difficult to write screenplay. There is only one screenplay knot that is opened in the interval. The entire second half is about how heroine falls in love with the hero. Hence there is no conflict point in the second half as audiences are well aware by then that heroine’s parents are not going to catch her. Though the initial half an hour after the interval bores you, the director turns it around with well conceived scenes towards the end of the film. The most hilarious scene in the film belongs to MS Narayana where he explains how drunkards are helping the Government. There are two defining moments in the second half – 1. Genelia’s banter after getting drunk: The way heroine questions the man’s attitude and explains the depth of women’s heart showcases the director’s deep understanding of women. The movie turns around from this moment. 2. Lead pair getting caught in an imbroglio: An unexpected scene from an unknown angle changes the complexion of the film and provides a lead to the climax. Other departments: Music of the film is alright. The best song on the screen is ‘Edo’ that comes before the climax. Nice rendition by Saindhavi helps the mood of the situation. Dialogues are nice. Krishna Vamsi seems to be allocating a few minutes of his film’s runtime to eulogize certain things in his recent films. If he had lengthy dialogues about railways and Indian traditions in Rakhi and Chandamama respectively, he tells some good things about Vijayawada (only after belittling it). Cinematography is adequate. The producer should have taken more care in the postproduction (especially DI) which would have enhanced the visual appeal of the film. Analysis: The title cards sequence (involving visuals of Maya Bazaar song Aha Na Pellanta’) is very good. The first half of the film is adequate. The initial half of the second half is boring (a common problem with journey flicks if they do not have conflict point). The director makes it up in the last half an hour. The positive points are Genelia and last half an hour. On the flipside, there is no conflict point (that creates dramatic impact) in the second half. This film has elements that can go well with class audiences and women.

Shashirekha Parinayam belongs to the genre of Road Romance films like Raj Kapoor’s Chori Chori, Gregory Peck’s Roman Holiday, Frank Capra’s It happened One Night, Mahesh Bhatt’s Dil Hai Ki Mantha Nahin and Imtiaz Ali’s Jab We Met. Shashirekha Parinayam is not inspired any of the above films in content, but only belongs to their genre. The road journey of the protagonists in this film is a metaphor for their journey together in life as partners. Genelia has come out with a good performance and she maintains her own ebullient way. As the story is told from the female protagonist point of view, she had ample opportunity to showcase her thespian repertoire. Tarun is his usual carefree self, but with meaningful restraint as per the demands of his role. He emotes well in the pivotal scenes. Ahuti Prasad and Parachuri Gopala Krishna give convincing performances. Subbaraju, Raghubabu and MS Narayana acquit themselves well in their roles. All others are adequate. This is a story where a young woman struggles to assert her rights as per the demands of her mind and heart. Being a Road Romance film, the story and screenplay will not offer any dramatic episodes. However, some scenes have been conceived and executed well such as the interval bang and the pre-cilmax revelations. But, somehow, the stamp of the unique style of Krishna Vamsi is missing. The music and lyrics are good, though a couple of songs hinder the flow of narration. The cinematography is good. The dialogues can afford to have some pep and wit. Sometimes they are longwinded too. The editing and audiography has not helped to enhance the overall appeal of the film. The Verdict Shashirekha Parinayam is an unplanned journey of the hero and heroine into the unknown frontiers of life and into the indefinable realms of love and togetherness. In spit of some contrived situations and some predictable incidents, Shashirekha Parinayam has enough of refreshing entertainment values that appeal to one and all. This is a family saga spearheaded by the female protagonist who would go all out to assert her will in matters concerning her life. We can travel along with Genelia and Tarun on the route marked by Krishna Vamsi.