Honesty is the best policy and since you, my dear reader, have taken the time to read this review, its time to confess. As much as NTR Junior aka Tarak is amazing an actor, Oosaravelli wasn't the most anticipated film for me. Keeping this hesitance aside, the normal hoopla that entails an NTR Jnr flick is anticipated. But lets dive straight into this one with the clear mind set that this is a masala film with a heavy action quotient [read blood, sweat and gore].So on the story front it seems quite basic. Tony [Tarak] is gangster that is best described as the title, a chameleon. During his travels to Kashmir, he is taken hostage alongwith a bus full of people by some terrorists and meets Niharika [Tammannaah]. The two are bound together in a room as the remaining survivors and in the last few minutes of their survival, they share their final wishes. Tony expresses his desire for a girlfriend that he never fulfilled and in a split second Niharika kisses him and tells him to think of her as his girlfriend. But just as you'd think there begins a love story as Tony busts the both of them out, Niharika slips aways. For Tony, he must find her even though he doesn't know the name or address of the girl who just kissed him. For Niharika, life has given her a second chance to live and she isn't going to waste it. Fast forward and shift to Hyderabad, Tony finds Niharika and finds out that she's engaged too. Neither shattered nor perturbed, Tony tries all he can until Niharika's fiance returns from his US trip. But who is Tony really? And is it really love that binds him to Niharika?
First of all, it must be said that Surender Reddy has moulded a story into this action-fest potboiler. So while it seems like a routine love story at first, the plot does thicken. Unfortunately, the film takes its time to bring that to the forefront. Until then, he does try to recreate the mayhem from his last film, Kick, to the point its like you are watching Tarak's version of Kick. Speaking of which, thank god that Tarak accepted this role. Not because its an amazing role but more because he explores his comical side in abundance. Barring a quite masalafied climax, Tarak is simple and totally alive on screen. To understand how such contrasting descriptions work for one actor, you will have to see the film. It might be requested though that Tarak find a new stylist. The clothing may have been next door boyish but that hair is unruly. Tamannaah darling, a special thank you to you. The girl has jumped leaps and bounds in the film. In fact, it is not far fetched to say she drives the second half film and that too, for a good portion of it. The ease in which she essays her expression can fool you to thinking she did not need to memorise the lines and meant each one. So she is a little annoying in the first half, she makes up for it big time in the second and thats what leaves a lasting impression. Payal Ghosh is back on the big screen after Prayanam and although the premise of her character is sketchy, she does an okay job. Prakashraj's has openly admitted the bad guy roles are his bread and butter but it would be so much better if he had a challenge because the man just cakewalks throughout. Shayaji Shinde could have been so much more to the film but is barely there, although lovable in the few scenes he has. Vidyut Jamwal is disappointingly absent thus makes an faint,almost non-existent impression. Raghu Babu, Jayaprakash and clan give the giggles initially but wear thin as the film progresses. Shaam is stuck in a circle and really needs to come out. The rest are strictly ok.
Coming back to Surender Reddy, its nice see that he kept his revenge story under wraps but where he and writer Vakkantham Vamsi keeps you interested in the second half, the constant gags of the first half can only cover the fact there is not story for a while, not hid it. Music by DSP is a highlight as the composer is back to his peppy self with trusty aides Adnan Sami, Mukesh and Suchitra making a repeat attendance like on most his soundtracks. Neha Bhasin and Vijay Prakash's rendition of Niharika is extra sensual while DSP own track Brathakali is little different in tune and tempo. Rasool Ellore camerawork is fine but Goutham Raju's editing could have been that extra crisper but when its a Tarak flick, blood and gore are part and parcel so the action is bound to be lengthy.
Yet, the downside is just as obvious as the fake blood on Tarak's face in the trailer clips. Sometimes you wonder if Tarak's directors want to show him as an action star or a bloodied up star. The amount blood and killing that is depcted in several of his films can be a little putting off. Oosaravelli is no different in that way. But even as people/fans accept this to a degree, it is hard to swallow action sequences which entail the lead sitting tied up to a chair and fighting his baddies. I mean, come on! Laws of gravity or even Physics anyone! Ok so the action is OTT. Points are given to the moving the focus point at the right time but disapproval sets in again when actors like Shayaji Shinde are not used properly. The concept of the father still being around for the son even after death in a ghost form is shown in one scene then completely forgotten about after that. It would have been better to not have that at all. Logic doesn't take a back seat as much in this film with certain point connecting correctly but timeframes don't match on some major ones as well. But considering the premise behind the latter portion, I guess this isn't one of the pressing issues of the film.
Yet as you walk out of Oosaravelli, you don't think you have completely wasted your money so thats a plus.
Rating: 2.5/5
