But, yes if you want only entertainment without looking at any other aspect of movie-making, you can give it a shot.
It insults the viewer’s intelligence and is an example of the Telugu film industry’s reluctance to let go of timeworn storylines that were all a rage decade ago. There is routine script, routine plot, with no chemistry, only brazenness and a lot of it. It is apparent that Sriwaas wanted a slickly made conventional blockbuster, and therefore relies on a mixture of tried and inflexible elements the audience is known to respond to. Anand Prasad didn’t compromise for any scene. Production values of Bhavya Creations are grand. Sriwass sorely disappoints in all aspects of the film he is a part of. The editing by S R Sekhar employs routine-effects jarringly and doesn’t save the movie during its runtime of 149 minutes. The cinematography by Vetri wears a strange digitally enhanced look, as if it had been washed in some kind of Cocktail. The other creative aspects of Loukyam can’t redeem it either. Background Score gives us the deja vu of Chakri & Manisharma’s tunes. The moment the last track appeared, people left the theatre in relief. Except the Ninnu Chuddagane song, the rest ruins the film. What makes this film rather cringe worthy is the absolutely obsolete music by Anoop Rubens. It is the technical factor that harms the film further. The tone adopted is that of a conversation between reputed stand-up comedians who are out to prove they can convey the seriousness of existence even while maintaining the comedic tone that is expected of them. In the endeavor to imbue Gopichand’s happy-go-lucky with a sense of mischievous ingenuousness the narration becomes woefully heavy headed. Derisive disregard for basic decency is meant to be cool in this film.
You have to go looking for the plot with a microscope. Most of the comic gags that Loukyam conjures up hinge on the film’s pivotal casting coup. It has no story worth the title, and its eccentric characters are eloquent impersonations that turn more and more bizarre as they lunge towards a protracted and action-packed climax that turns out to be far and away the most enjoyable part of the film. Hamsa Nandini sizzled in her cameo.Īlthough, the credit for the story (Sridhar Seepana) and screenplay has been given jointly to Gopi Mohan & Kona Venkat, but you’ll keep wondering where is the story-line or what the story all about is. It’s a joy watching him in a spoof characterization.
Prudhvi succeeds in tickling the funny bones. Raghu Babu, Krishna Bhagwan, Raghu and Satyam Rajesh are middling in their roles. Sampath continues his “Mirchi” mark characterization. Mukesh Rushi does his casual routine in this role. Chandra Mohan and Brahmanandam, who have worked in several comic capers and masala fares earlier, are effortless, but not memorable. Rakul Preet looks completely gorgeous in this role, but pairing with Gopichand lacks the fizz. But he lacks the freshness and mannerism to ease through this kind of characterization. It was up to Gopichand to salvage the show and I must admit, the actor flaunts the attitude all through. Will Venky marry his true love forms the rest of the storyline. Then he tries to make her family convince for his love. In the meantime, Keshavulu plans to kill Chandrakala, but Venky rescues her from the issue. Babji (Sampath) takes away Chandrakala to Warangal knowing that she fell in love with someone. There’s a villain too in this Keshavulu (Mukesh Rushi), who tries to damage Babji’s reputation in Warangal. Before you know it, Venky falls head-over-heels in love with Babji’s sister Chandrakala (Rakul Preet) in Hyderabad. The first 15 minutes is a mindless hotch-potch to establish the main characters, plot and story be damned. Venkatesharulu (Gopichand) a happy go lucky guy, helps his friend run away with Neetu (Shyamala) from Warangal. Cast: Gopichand, Rakul Preet, Brahmanandam, Chandra Mohan, Prudvi, Sampath Raj, Hamsa Nandini and Raghu Babu.
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