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In 1609 AD, Mitravinda, a princess, and Kala Bhairava, the warrior that she loved, die. 400 years later, the warrior is reincarnated as Harsha, a motorcycle stuntman. He brushes hands with a girl and sparks fly as he begins to recall his past life. Knowing that he is destined to love this young woman, he sets about trying to identify her. Indu does not remember her past life and keeps Harsha at a distance; playing tricks on him until she gets to know him better. However, just as the two begin to fall in love, a sinister force from their shared past returns!Written by
"Magadheera" is an indigenous product from our own very soil with significant portion of the plot inspired by bedtime tales of taatayya/ naanamma/ ammama and presented on screen at a lavish scale bench-marked by likes of "Gladiator"/ "300". Without an iota of doubt, "Magadheera" is a praise- worthy effort for the top-class CGI's that transports the audience straight into the period era. Next to CGI I am afraid everything comes to a grinding halt. The entire team seems to have been obsessed with over-the-top production values that nobody bothered to tap even a single shoulder and ask "Where is the plot heading dude?". It would be an understatement to mention the writing has holes as the proceedings give an impression that the impromptu scribbling act was attempted on the set a few minutes before the shot was canned. The editor I am sure made a silent prayer with every stitch that logic remains unquestioned by the audience. Songs by Keeravani don't quite rise upto the expectations. The action sequences are well executed though.
Ѻ Kajal Agarwal:: The new poster-girl on the block, thanks to the good looks. It was evident that she attempts to cover up her acting skills with her coy expressions. Undoubtedly Ms. Kajal is good as "Indira" but sadly a misfit to pull-off the regal character of "Yuvarani Mitravinda Devi". On that note, perhaps there was a good opportunity for heroine #2 to stage an entry (on the lines of every papa Chiranjeevi's movie).
Ѻ Rao Ramesh:: Brings in the stage-like performance coupled with his makeup, gait and hissing dialogue delivery to breathe life into the character of "Aghora".
Ѻ Mumait Khan:: Attempts to displace "Disco Shanti" in the garb of "Bangaru Kodi Petta" remix. On behalf of the fans of the original version, do I need to spell the word "foul"?
Ѻ Suneel & Brahmanandam were merely a force-fit into the storyline. The appalling act in the name of comedy was easily dispensable.
Ѻ Kim Sharma:: Her item song was clearly a force-fit.
Ѻ Dev Gill:: Has got what is takes to breathe a menacingly evil re- incarnate into life. Stands out clearly and now that Sonu Sood has found glory in his own hamlet, perhaps Dev Gill should consider filling in his shoes.
Ѻ Sarathbabu:: Though a short role but effortlessly essayed.
Ѻ Srihari:: Again the writing is at lowest ebb with regards to fleshing out the character of "Sher Khan/ Solomon". Dropping straight into the climax out-of-the-blue is cinematic liberties at its best.
Ѻ Chiranjeevi:: Reprises his persona of mega-star with his signature style, signature dialogues and signature mannerism in a cameo which can be best described as "There you go son, my fan-base is now all yours. Entice them!". Encapsulating father-son in the same screen space is nothing more than a Kodak moment.
And finally about....
Ѻ Ram Charan Teja:: Every heir to a legacy wishes for a wand which could make the comparison go away and magically exceeds expectations. If such did exist I am sure Chiranjeevi Junior would have been the highest bidder. Under the garb of technical brilliance everything gets pushed under the carpet, which includes his performance. Chiru's fans might be benevolent this time and a few times more, but in order to stay in business he needs to build his own army of loyal soldiers. Ram Charan Teja clearly has miles to go before papa can sleep.
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