Millions of films churned out a year and even after ages passes by; some of them remain as masterpieces forever. Francis Di Coppola would have not imagined his ‘God Father’ would be something more than a movie. Regardless of language and regional factors, they become a part of ritual for the film lovers as they watch it persistently. Every time you watch it, there is lots of newness and the process goes on.
Ram Gopal Varma ennobles his upcoming film ‘Rattha Charithram’ to be one of those genres, where film is much closer to life rather than being a fictional piece. A master of his own dreams, RGV has conceptualized the raw realities into splendiferous dramas.
His never-ending fascination towards underworld realms has urged to trigger out crème de la crème dramas of all time.
Sathya - A hardcore drama about Mumbai’s most notorious criminal turned politician Arun Gulab Gawli fondly called as ‘Daddy’. Company - A crime drama about Dawood Ibrahim’s Company and the fictionalized view on how his close friend Chotta Raja rose against him.
Sarkar & Sarkar Raj - Inspired from Hollywood’s ‘God Father’, RGV connected the film close to Bal Thackeray and his family. Following these mind-boggling realistic takes, here comes ‘Rattha Charithram’, a history that would never fade from the pages of India. The brutal combat between Andhra based politician Parithala Ravindra and Faction Leader Maddelacheruvu Suryanarayana Reddy.
Ram Gopal Varma researched nearly 26 years for these biggest kingpins of Andhra Pradesh. Well, this particular factor itself implies the earnest efforts of sticking this theme.
Keep logging to this column for we will bring you the complete history Rattha Charithram from Papers-to-Screens.
Vengeance and Retaliations have been the gruesome elements prevailing between the lead characters of Parithala Ravi and Maddelacheruvu Reddy. The real life conflicts indeed haps to be a cinematic drama as they seek vengeances from the core of their heart.
Ram Gopal Varma’s intensive researching on the murder plots between these characters should have helped him to make it more appealing over the screens. For instances, the newfangled TV set bomb plots were one of the major highlights in news channels and in turn the car bombing was yet another sensation.
The two bigwigs turned the attention of entire nation with their own conflicts.
Exactly getting it righter terms, this could be one perfect interesting job for Ram Gopal Varma as he exceeded his very own potentials and got deeper with research works. Imagine an auteur walking straight into the territory of Ananthapuram questioning about Late Parithala Ravi to his wife.
Much before the filming would kick-start, there were many protests made against the film project.
His next level of poking into the subject was his tête-à-tête with Maddelacheruvu Suri. Guess what? The real and reel life characters do have some identical traces when it comes to certain traits of emoting through eyes. As a matter of fact, Ram Gopal Varma was keener on signing Suriya for this role.
Well is RGV trying to replicate the exact happenings of reality over the screens?
Of course not, most of the quotients have been fictionalized as Ram Gopal Varma himself admits saying, “Yes their thoughts, their actions, and their emotions are highly exaggerated and that’s because cinema’s business is to exaggerate so as to heighten the emotional state of the viewer in the theatre. To this purpose everything about the film from its title to its posters to its promotional videos all should be employed for the same. It’s only then that the reel will look real and the real will look very realistic.”
It is a vivid recollection of characters that lived and is still living across Andhra Pradesh. A theme so close to heart for those who can relate the onscreen characters with the real life personalities of Andhra Pradesh and that’s ‘Raktha Charithra’ all about.
What could be the best terms to label Ram Gopal Varma’s ‘Raktha Charithra’ - ‘Crime-Drama’ or ‘Docu-Drama’? A close call indeed: this isn’t a film meant for usual film lovers, but for those yearning out for a different line of cinema. RGV has completely stepped out of the usual narrative structure. The best exemplification of this would be the introduction of film’s lead actor Vivek Oberoi after 30mins.
It’s an auteur point of view as the film opens with a brief introduction of present scenario of ‘Ananthapuram’ village. Narasimha Reddy (Kitty of ‘Thalapathy’ fame), a powerful and just politician feels that the equality should persist amongst the castes and asks Veerabhadrayya to nominate candidates from other castes… Nagamani Reddy (Kota Srinivasa Rao), close relative brainwashes Narasimha Reddy influencing his falseness over the caste peoples. Dashed down in hopes, Veerabhadrayya decides to float his own party and contest in elections. Nagamani Reddy murders Veera using his own man (Aashish Vidyarthi) and in turn eldest son Shankar sets out to seek revenge. Sooner he is culminated towards the same fate. Then enters the youngest, innocent and desolated son Prathap Ravi (Vivek Oberoi) settling scores and on course of change becomes the right hand of actor-turned-politician Sivaji Rao (Chatrugan Sinha).
As mentioned earlier, this could turn out to be a usual vengeance-seeking story as the complete film; especially the first hour is all about killing each other. 3 sequences are really interesting and win our applause, though it’s clichéd.
1. Bumping off the police officer at Police Station.
2. Vivek Oberoi plotting murder plan of Pucca Reddy with the aid of an innocent man, who has a bad history to retaliate.
3. Assassination of Nagamani Reddy at his own place.
However, the abrupt ending looks so amateurish way. Soon as the car blasts, RGV could have shown Suriya walking along with his group men and a fade out. Instead, he has inserted the promo of ‘Raktha Charithra - 2’.
Producer Dayanidhi Azhagiri made smart plans of not releasing the first part in Tamil. Of course, it’s a good idea as our Tamil film lovers may not have any idea of what is actually happening as they cannot relate themselves with the characters.