The movie opens with the childhood episode of hero and heroine and it shifts gears to the present time. Chinna (Manchu Vishnu) tries for a job in a news channel. The editor (Posani) gives him a task to perform a sting operation on a minister and get the details of his wrong-doings. Chinna succeeds in it but gets hit by a vehicle and lands in a hospital. There he meets a doctor Alekhya (Lavanya) and falls for her.
He leaves no stone unturned to win her heart and finally strikes gold. But Alekhya’s past haunts her. The minister’s henchmen are chasing down Chinna and Alekhya. What is Alekhya’s past? Will Chinna win in his operation? Is getting a job his sole objective or is he up for a larger scheme of things forms the rest of the story.
Manchu Vishnu has clearly showcased his strengths with the D formula and definitely proving to be a matured actor. He fires all the cylinders in the film and is seen in every scene and every frame. He more than ably carries the film on his shoulders and fuels the narration with his magical presence. He has also raised the bar with his dance moves and performed his character with ease. However, he can never leave his antics – his diction and modulation, which has become repetitive.
Lavanya Tripathi is really the weakest link in this movie. She looks underplayed and mediocre in her role and never the felt the presence of a heroine on the screen. She definitely lacked the overall essence and her acting skills raise the eyebrows.
Of all the supporting cast, Pankaj Tripathi (Gangs of Wasseypur fame) gets registered. He is menacing on screen and mixes various elements – comedy, emotion, stillness – in his act. He is great find for Telugu cinema.
Brahmanandam as usual excelled in his character as Veera Brahmam and played a major role in the comedy department making it a laugh riot. He pressed all the right buttons to keep the audience busy laughing all the way. Especially his psychology test scene with Hema was hilarious.
It was just another day for Kota Srinivas Rao in his office. He pulled off his character with ease and you can almost sense that he has done this over and over again.
Vennela Kishore, Bharat & Hema made their piece of contributions and were impressive with their comedy drill.
Rao Ramesh played the role of Lavanya’s father and was good.
Veeru Potla has patented the commercial Telugu cinema template, he knew his script and executed it with a lot of ease. He tries to induce comedy in every scene where Vishnu is on screen and dishes out emotional platter when required. His Bindaas tasted success and Doosukeltha can be called an extended version of that film. He didn’t try anything new in the story department but overloaded the film with hilarious characters and also brought in confusion into viewers’ mind.
At one point of time you never understand how everyone is connected, but his master-stroke connects the dots effortlessly. What works in the favor of the film are the one-liners and punches of Vishnu that were written by Potla himself. Overall his directional skill is impressive, sensible story execution and phenomenal screenplay with the right mix of characters at the right time.
Mani Sharma’s tunes or background music is not par with his usual standard and clearly did not look like it came from a veteran music director like Melody Brahma.