‘8 Vasantalu’ Movie Review: Fanindra Narssetti’s romance drama is ambitious but there is a shortage in Sol

Director fanindra narsetti 8 Vasantlu Rare characteristics for most Telugu films recently – a different sense of ambition, firm belief and originality. This is a focused story that charts a girl’s development through love. Mounted on an imaginary canvas, set in a blurred hero, which was narrated in the seasons, nature remains a witness to his story, and the film aspires to be a poem in motion.

Nayak, Shudhi Ayodhya (Antika Sanilkumar), is also a 17 -year -old poet who learns martial arts from a sick guru. The director reminds the penis dynamic in an initial sequence of a quintage of mass. Shuddhi placed US-Returnee, Varun (Hanu Reddy) in its place when she claims that embroidery is a woman’s domain and martial arts are the best left for men.

His sexist comment found with a sharp thood, the message is clear. Nevertheless, she reminds her that the real strength lies in self-restraint. And, the boy smiled. But Shuddhi is not your average teenager. She is already a writer of a Bestseling Poetry Collection and is on a two -year visit across India to write a book, appreciating her for her qualities rather than her qualities to appreciate a plea to the world to the world.

Other characters also feel their presence. Shuddhi’s friend Karthik (Kanna) has a passion for the design of shoes, which has a lot for his conservative father’s rejection. Varun, leading life, his father only dreamed, falling into Barkli, falling under pressure to fulfill that wish. His father takes a loan from a friend to fund his son’s magnificent lifestyle.

Preventing an underdeveloped female character named Anita, the director makes an honest effort to remove the ideals of her characters and the inner world. While men’s stories (Karthik, Varun and Sanjay who appear later) reflect and display some vulnerability, Shadhi is very idealistic, sorted and overlapping for a teenager. Almost some blow dendates his soul.

Whereas the plot has all the components of a broad romance that are described through a woman’s lens, which is worthy of praise, lacks grounding in storytelling, and the effect is thin by self-dialogue dialogue. Every event becomes an excuse to strengthen the unbreakable feeling of Shuddhi, a pursuit that grows tired after a point.

It is difficult not to appreciate the pre-interlown sequence, where Shadhi speaks how her mother raised her like a queen, and why she is worthy of treating dignity (in a breakup). After moments, at a funeral, she questions patriarchy, pointing to a woman’s irony, capable of giving birth, prevents from performing the funeral.

Relevant marks are raised throughout the film, but they often flattened cinematically. The film finds its rank in a striking action sequence in Varanasi, where Shadhi closed the animal inside. All hells become loose to life as a tiger and Durga roar. His intense reflections in the Taj Mahal are powerful in the idea, but their influence is dull with additional dialogue.

There are interesting similarities in Shadhi’s love stories with Varun and Telugu writer Sanjay (Ravi Dugirla). However, along with Sanjay, the director goes to overboard to validate his thoughts and confidence systems.

Metafistal subplot around Sanjay’s novel Queen malini (About a prostitute that recurs his agency) is ideologically hypnotized but disrupts the speed of the film. The story eventually re -acquires some lost land with Sanjay’s poignant backstory, with a surprising turn, offers an indifferent node to the era of love letters and provides insight into the title.

Among all the long standards of the hero, it is difficult to imagine why she would entertain her mother’s idea to marry in a rich family, although reluctantly. Despite its shortcomings, 8 Vasantlu There is no lazy effort. It has a real visual texture (cinematography by Vishwanath Reddy) and a story that has a lot; Just that the balance does not come effectively.

For example, the shots parallel to Varun and Shadhi are sleepless as they come with their feelings for each other, it is a vision to see. The imagination of a fallen rose petal, shows how love breaks and cures shdhi, is quietly poignant. Even the title credit, where his journey is shown in reverse, long after the end of the film.

Like director’s earlier film ManuIt does not know where to stop. While his first attempt was more cinematically rich, bloated writing 8 Vasantlu, Where conversations sound like discourses, dent the overall effect.

Ideological, the character of the film, many times, feels like the writer’s points of imagination instead of meat and blood creatures, with which we struggle to identify. Although small details that fulfill their world are impressive, more efforts can be basically to integrate them with the story. Even the scenes of Ooty, Kashmir also receive a tourism.

Antika Sanilkumar is consistently a symbol of the fierce spirit that is shdi, which makes every effort to internal her flexibility and trauma. Hanu Reddy, disappointingly as a lovestruk teenager, has a raw, panoramic screen appearance. Ravi Dugirla’s character graph is impressive, although there is scope for improvement in his performance. Kanna Passunori is a good discovery, and Sanjana Hardberry shows a promise in an underwor.

It is surprising that there are only two songs in a love story with piles of emotions, composed by Hasham Abdul Wahab as part of his album. ‘Parichaymila’ sung by KS Chitra is a raga for ages. The sink with the mood of the film has vibrant, diverse costumes, another high point.

Despite its merits, 8 Vasantlu It is like a poem that is very conscious of its style, has been overstfing many times, right in its intention but decreased in summer.

Published – June 20, 2025 03:52 pm IST