Boyapati Sreenu is known for crafting films that appeal to a wide audience. Following the massive success of “Akhanda,” he joined forces with Ram Pothineni, who had built a substantial fan following in the mass moviegoing crowd after “iSmart Shankar.” The query at hand is whether their partnership turned out to be a triumph or not. Let’s explore it.
Skanda (2023) Movie Details
|Movie Name||Skanda: The Attacker (2023)|
|Release Date||28 September 2023 (India)|
|Cast||Ram Pothineni, Prince, Sreeleela, Sharath Lohitashwa, Saiee Manjrekar, Srikanth, Daggubati Raja, Gautami, Indraja, and others|
|Director & Story||Boyapati Sreenu|
|Production Designer||AS Prakash|
Skanda (2023) Movie Story
A burst of action unfolds as the son of Telangana’s chief minister elopes with the daughter of Andhra Pradesh’s chief minister. As the Andhra Pradesh CM sends a man to retrieve his daughter and eliminate the Telangana CM, a college student named Ram, who happens to be a classmate of the Telangana CM’s daughter Sreeleela, unexpectedly alters the situation by abducting both of the CM’s daughters.
What motivated him to carry out these abductions, and what part did the businessman Srikanth play in this whole incident?
Artistes Performances Overview
Ram Pothineni has adeptly immersed himself in director Boyapati’s realm of action-packed dramas. In this film, he takes on two distinct roles: portraying both an Andhra and a Telangana character within a single role, while also embodying a Seema guy hailing from Morocco in another.
Ram underwent a significant physical transformation, gaining more than 10 kilograms, which proved to be an effective transition for the mass persona he portrays in the movie. While his acting may not stand out, he excels in delivering impressive action stunts.
Sreeleela makes brief appearances in a couple of moments and features in two songs during the first half, along with one song in the second half. Saiee Manjrekar has a few sequences, but that’s the extent of her presence.
Srikanth maintains a consistent expression as the businessman throughout the entire film, while Daggubati Raja delivers an adequate performance in the role of Ram’s father. Prince Cecil takes on a conventional antagonist role.
Exceptional technical proficiency:
The cinematography by Santosh Dekate and the action choreography by Stun Siva stand out as the primary highlights. The producers invested heavily to achieve a lavish impact in the action sequences and overall visual appeal. However, the music, except for the “Gandarabai” song, falls considerably short in its on-screen impact.
The Skanda movie has its share of drawbacks that hinder the overall viewing experience. Firstly, the film often lacks logical consistency, leaving viewers questioning the plausibility of certain events. Additionally, Boyapati’s signature style, though beloved by some, can come across as predictable to those familiar with his previous works.
The songs, while they may have their moments, fail to leave a lasting impression, failing to enhance the narrative. Perhaps the most significant drawback is the second half, which tends to drag and become rather uninteresting, making it a test of patience for the audience.
In a Boyapati Sreenu film, two elements are typically not on the menu: 1) logic, and 2) sensibility.
“Skanda,” the latest action-packed offering starring Ram Pothineni, follows this time-honored tradition of being an illogical action film with a political message at its core.
Putting aside the political overtones and Boyapati’s personal convictions, the paramount question concerning the film revolves around its ability to provide entertainment and engagement. Regrettably, “Skanda” leaves viewers scratching their heads, as nothing in the film seems to adhere to reason, starting from its title and extending to its convoluted plot.
The narrative is fairly straightforward: two chief ministers attempt to enlist a businessman to legitimize their ill-gotten wealth. When the businessman declines, the hero steps in to rescue him, leading to a series of chaotic events that defy conventional logic.
Boyapati’s trademark sequences are all seamlessly woven into this singular plotline: the heroine finds herself abducted, the hero delivers his signature warning dialogues, explosive vehicular action unfolds, adversaries meet grisly fates, and a second hero, bearing an uncanny resemblance to the protagonist, makes a dramatic entrance both at the interval and climax.
It appears that Boyapati has opted for recycling scenes from his earlier cinematic endeavors.
Here are a handful of instances showcasing scenes that could only exist within Boyapati’s cinematic realm, as they boldly challenge the boundaries of logic:
- The son of the Telangana chief minister attends the wedding of the Andhra Pradesh chief minister’s daughter and departs via a helicopter.
- Hero Ram storms the Telangana Chief Minister’s mansion, causing chaos, and makes a daring escape in a helicopter after delivering a stern warning to the CM. Even the police are too intimidated to approach the hero. But is it plausible for an unauthorized helicopter to access a CM’s office or residence?
- Daggubati Raja shows up at the CM’s office with jars of pickle and issues a stern warning to the CMs.
- In a rather ludicrous turn of events, Srikanth’s daughter, Saiee, holds the position of CEO in a company and is romantically involved with a rugged individual responsible for multiple murders in Morocco.
These instances merely provide a glimpse into the nonsensical sequences that permeate the movie. Even as the credits roll, the rationale behind the film’s title, “Skanda,” remains shrouded in mystery.
Ram and Boyapati’s endeavor to craft a pro-TDP film, where the chief ministers of both states are depicted unfavorably, may resonate with TDP enthusiasts. However, the film ultimately stands as an irrational and vacuous production, lacking substantial meaning.
To highlight the film’s positive aspects, it boasts an engaging first hour marked by its brisk narrative pacing. Ram Pothineni’s remarkable transformation and a standout dance performance add to its high points.
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In summary, “Skanda” adheres closely to the tried-and-true Boyapati formula for mass-oriented cinema, replete with numerous sequences that defy logic and an abundance of extended action scenes. Notably, there’s a memorable moment where Ram splits a bow into two blades. It caters to those who are willing to set aside logic for the sake of entertainment, but others might find it considerably less appealing.