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T-Series Films and UV Creations’ Radhe Shyam (UA) is a love story which also deals with the topic of science versus astrology (particularly palmistry).
Vikramaditya (Prabhas) is adept at palmistry and is known for his accurate predictions. He realises that he does not have a love line on his palm and, therefore, refrains from getting attached to any girl as he is sure, marriage would have catastrophic consequences. However, he falls head over heels in love with Prerna (Pooja Hegde), a doctor by profession. Prerna is also extremely fond of Vikramaditya. On reading her palm one day, Vikramaditya predicts that she would have a long and happy life. But this is not what science has told her as Prerna is suffering from a serious terminal disease. In fact, she now has just two more months to live.
Vikramaditya challenges the power of science and insists, the doctors’ prediction about Prerna’s impending death would prove incorrect. Meanwhile, Prerna gets to know that Vikramaditya will not marry her because of the absence of a love line on his palm, and his firm belief in palmistry. What happens thereafter? Does astrology win over science in the case of Prerna’s life? What happens to the love story of Vikramaditya and Prerna?
Radha Krishna Kumar has written a story in which it is not clear to the audience whether he wants to glorify astrology, deride science or take the middle path. At one point, Vikramaditya is shown to be invincible and his predictions are shown to be sacrosanct. However, as the drama progresses, it emerges that there are some people — very, very few — who are so strong that they can change their destiny too. This then puts a question mark on Vikramaditya’s genius because it means that his predictions could go wrong anytime even if that may happen in just 1% of the cases. The viewers, therefore, do not know what message is sought to be conveyed — that astrology is all too important and hence you should have cent per cent faith in it, or that you can change destiny if you are strong enough (which, by implication, would mean that there is no need to get into astrology because if you are strong enough, you are, in any case, going to chart the course of your own future). Radha Krishna Kumar’s screenplay is boring and full of holes. The portion in which Prerna’s paternal uncle (Sachin Khedekar), who is himself a doctor, fires Vikramaditya for misleading Prerna by telling her that she would not die young, looks ridiculous, to say the least. Why would anyone, least of all Prerna’s well-wisher, spit fire against a person for filling her with hope? Agreed, the uncle is a doctor and, therefore, has implicit faith in science and logic but does that mean that he should get angry at someone who is only telling Prerna that the inference based on his knowledge of palmistry is at variance with the inference based on science. Yes, the uncle could tell Vikramaditya to not raise false hopes in Prerna’s mind (frankly, why would the uncle even want to do that so long as it is not going to interfere in Prerna’s treatment and also because giving somebody hope would never prove detrimental to his/her health) but asking him to get out of the hospital is stupid. Even otherwise, for the modern audience to digest the theory that one can repose so much faith in astrology seems very unlikely. The scene in which Vikramaditya talks to an unconscious Prerna is not half as hair-raising and inspiring as it should’ve been. The climax on board the ship and in the high seas also fails to evoke the emotions it should’ve. All in all, the emotional quotient of the love story is low. Comedy is also almost missing. Dialogues (by Abbas Dalal and Hussain Dalal) are alright. The drama deserved more fiery dialogues.
Prabhas looks very dashing and acts well. He has worked very hard on his physique and the fantastic results are for all to see. Pooja Hegde acts well. She has looked very beautiful. Bhagyashree does not have a meaty role as Prabhas’ mother. She does a fair job. Sathyaraj is so-so as Paramahamsa. Kunal Roy Kapur hardly provides fun moments because his track is weak. Sachin Khedekar creates an impact as Prerna’s doctor-uncle. Riddhi Kumar, as the aspiring archer, leaves a mark. Murali Sharma and Anooradha Patel have been horrendously wasted as Prerna’s parents. Beena is okay in an inconsequential role as Prerna’s grandmother. Thalaivasal Vijay (as scientist Shivaji), Priyadarshi Pulikonda (as Subbarao), Sathyan, Sasha Chetry and the others lend ordinary support.
Radha Krishna Kumar’s direction is alright. Although he has made the film look beautiful by shooting on extraordinarily picturesque locales, the lack of depth in the script as well as narration is all too evident. Music (Mithoon, Manan Bhardwaj and Amaal Malik) is melodious but the absence of super-hit tunes in a romantic film like this is felt. Lyrics (Kumaar, Manoj Muntashir, Mithoon and Rashmi Virag) are appealing. Choreography (Vaibhavi Merchant) is very eye-pleasing. Sanchi Balhara and Ankit Balhara’s background music is fairly nice. Manoj Paramahamsa’s cinematography is heavenly, just like the foreign locations on which the film is shot. Nick Powell and Peter Heins’ action and stunt scenes are alright. Production designing (Raveender) and art direction (Ravi Jakkula and Gayatri Shinde) are appropriate. Visual effects are good. Kotagiri Venkateswara Rao’s editing is fairly sharp but yet, the film appears to be too long and even boring at places because of the weak script.
On the whole, Radhe Shyam is a poor show which will prove to be a heavily losing film in spite of its beautiful canvas. Its unduly high cost will only add to the tale of woes of the persons associated with the film. Business of the Telugu version, however, will be far better.
Released on 11-3-’22 at Inox (daily 6 shows) and other cinemas of Bombay thru AA Films. Publicity: good. Opening: dull. …….Also released all over. Opening was below the mark almost everywhere.