Phalana Abbayi Phalana Ammayi Movie review: Cute & simple emotional journey

“Phalana Abbayi Phalana Ammayi” (PAPA) is the latest Telugu film, which stars Naga Shaurya and Malvika Nair in the lead roles. Srinivas Avasarala handled the story, screenplay, dialogue, and direction for this film. The film is produced under the People Media Factory banner by TG Vishwa Prasad, Vivek Kuchibhotla, and Padmaja Dasari. The film released and let’s see how it fares at box-office.

Story

Set in the year 2000, Sanjay (Naga Shaurya) and Anupama (Malavika Nair) are college mates in Vizag. Anu who is a one-year senior protects Sanjay from ragging and both become good friends. In 2004, they go to London to pursue Masters and start a live-in relationship. Sanjay does not show up at the hospital when Anu needs moral support. Disappointed Anu breaks up with Sanjay. The rest of the story is about his absence and how the couple’s relationship goes on further.

Analysis

Srinivas Avasarala directs “PAPA.” It is his third directorial after “Oohalu Gusagusa Lade” and “Jyo Achyutananda.” If one has seen the previous flicks of Srinivas Avasarala, it would be clear more than the stories; it is the writing and screenplay where the director scores. The scenes are relatable, mostly, and the drama is kept natural and organic, sticking to the core plot. We see the same in “Phalana Abbayi Phalana Ammayi.”

Right from the opening, the director’s mark is visible in writing. The simple and relatable situations in college are made enjoyable as a result. The episodic format helps overcome the lag, but only to an extent. The success of “Phalana Abbayi Phalana Ammayi” initially lies in connection with the characters. It is critical for the movie because the narrative runs primarily on them. There are no other known faces around them, at least in the first half.

While the simple moments work, the problem with “Phalana Abbayi Phalana Ammayi” is the drama. There is a gradual escalation, but they lack depth. It is in tune with the rest of the simpler moments, but as the writing lacks a similar impact, the overall effect is missing. The problem becomes more evident in the movie’s second half compared to the first.

The drama is where the conflict lies, and it is here that “Phalana Abbayi Phalana Ammayi” falters. It leaves one with mixed feelings. The smaller moments also work in the second half, with the subtle humour firmly in place. But, the bigger dramatic parts fail to provide the required effect. They lack the emotional heft needed to take things to the next level.

On a whole, “PAPA” is a simple-looking but difficult-to-execute rom-com featuring limited characters. It works in parts in both halves but fails to leave a mark as a whole due to weak drama and a flat narrative. If you like a slice-of-life drama with a romantic background, try it, but keep the expectations in check.

Performances

Naga Shaurya is reliable, as usual, but he is more so when it comes to the “Phalana Abbayi Phalana Ammayi” kind of genre. The light, breezy romance is his comfort zone, and it’s visible from the first frame. The different stages are also neatly conveyed via changes in stubble. There are a couple of emotional scenes towards the end, which are also okay, but a feeling of improvement lingers in our minds.

Malvika Nair, meanwhile, is made for the part. She goes through the narrative smoothly and with the required intensity. The light-hearted moments and the emotional bits are done with equal ease. Apart from the lead pair of Naga Shaurya and Malavika Nair, there are hardly any known faces. The director himself, Srinivas Avasarala, appears in the second half. He is alright and does well in his style, but that’s it.

Technicalities

Srinivas Avasrala created a good impact in audience with his previous films. His sensibility in narrating the script continues with “PAPA” also. Kalyani Mallik, aka Kalyan Koduri, has been associated with the previous movies of Srinivas Avasarala. The co-ordination between them shows as the duo has been able to deliver unique and pleasant sounds with a strong sense of nostalgia. However, when it comes to chartbuster appeal helping the film, it fails in that regard. The songs could have been better. The background score is alright. Sunil Kumar Nama’s cinematography is decent. It reflects the tone and sensibility of the director. Kiran Ganti’s editing, too, is neat, especially the transitions are pretty effective.

Advantages

Lead actors performances

Onscreen chemistry

Two melody songs

Drawbacks

Ultra slow-paced narration –

Conflict points not established effectively

None of the emotions works