What is the definition of ‘Romeo’ – a lover who roams, careless guy and remain long lasting in his love? That is what the protagonist Ganesh in ‘Romeo’ to some extent. When the love has to be won by materialistic gain on the one side he changes his attitude that even melts the heart of lover Shruthi (Bhavana). You are with money now. If I come back it is not good says the female protagonist.
Ganesha is a gas bag. He lives in a poverty stricken family with his parents. He acts like Ambani or Mallya to win his lover heart. He is not aware that he is doing a costly mistake. He marries Shruthi making her to believe that he is an aristocrat, the regional manager in the bank Shruthi agrees. Ganesh and Shruthi marry in registrar office. Shruthi father is against to this match.
When Shruthi is brought to the house of Ganesh the fact reveals. She feels disgusted with Ganesh and walks out of the house to her father place. The divorce paper is also signed. In the mutual consent at court Ganesh and Shruthi separate.
After this set back in life Ganesh grows to become rich. He meets Shruthi again. This time Shruthi clearly says in a choked voice that her father had looked for a match in USA. Knowing the inner heart of Shruthi, Ganesh enact another drama and he is admitted to the hospital. This time Shruthi in the Airport returns to see Ganesha. That is the curtains down for happy ending.
Director PC Shekar in the process of telling that ‘Love’ is eternal has missed out a few things. He has missed some points and his taken for granted attitude is uncalled for.
Firstly he is inspired from a few of the Tamil star Dhanush films. A film in Kannada ‘Anthu Inthu Preethi Banthu’ of Aditya Babu and Ramya (Divya Spandana) had the same theme of rich and poor barricade. In this film Shekar has added a lot of carelessness to the protagonist to grab the youths and Ganesh fans.
Look at the problems that the director is locked to himself. Firstly he says uttering lies should be only at places. This is a wrong signal to the youths. This is the carelessness of the director.
Secondly the uttering of lies is OK according to times is told from the senior characters. This is again a wrong signal to the elders of the society. A refine thinking was needed.
Look at the divorce papers signing in the court and separating. Those who signed the divorce papers rejoin once again. What is the answer they give for the court of law that sanctioned divorce? Can they take law for granted?
Cinema should be seen as cinema. In the present day cinematic angles are aped in the real life. It is good that both the lovers have joined. There was no need to give the sanction from the court. The couple could have been asked to wait for some time. In that way rejoining would have meaning and law is also respected.
Once again Ganesh film is not well measured. PC Shekhar said something and he has done something. He has declared that he thought of doing a film after seeing ‘Mungaru Male’ in 2007. In that case he has not studied the graph of Golden star Ganesh. Ganesh as action hero has failed in ‘Bombaat’. The crispy and lengthy dialogues with romantic mood, chiding others are his trump card. Who likes to see Ganesh in sober mood and collecting tears?
Once again the box office formula of showing the hero with certain qualities is not followed. In the very first scene Ganesh is slapped on the face by his father. These are not small issues. The hero getting such slap, harsh words etc is not a box office formula. It is not tasteful for the fans.
Ganesh sitting on a drink for a few times and smoking is not in good tune. It is the Ganesh voice at the beginning and at the interval says ‘Doomapana Arogyakke Hanikara….Madhyapana is also bad. When the hero himself does it in the film, what does it mean?
The only lovely song of the film Alochane Aradhane Ella Nindene….is placed at a wrong point in the film. The lyrics written in this case does not match the situation. Just for the sake of fixing a song, director followed the routine formula.
There are some scenes not jell well to the Kannada atmosphere. One is the old ladies singing on a terrace. The film is quite good in the dialogues department. Sadhu Kokila episodes are in excess.
Golden star Ganesh has good dialogues in the first half. He needs to follow the principles correctly when he performing a role. For example driving without helmet and on a cell phone is irresponsibility. He is not fit for action image.
Bhavana has acted well but it is the dubbing that has lifted her character. Avinash is as usual with grit; Rangayana Raghu is also as usual with wit. Sadhu Kokila comedy is not going to hit. It is in excess.
Sudha Belawadi, Giri and others are OK. The character played in the end – a lover to comedy actor Giri gets noticed for her looks.
The best song of the film is ‘Alochane Aradhana….but there are two peppy tunes for the masses. In the rural areas the womenfolk might enjoy the old ladies in song number.
Vaidhi is impressive in his camera. The small lanes, outdoors the posh places are very clear in his work. Editing is quite OK. Nataraj in the dialogues is a real winner from this film.
Last but not the Least – In first half ‘Romeo’ is a Rascal – in second half he is typical.
PARTLY GOOD – Score – 2.5/5
Cast - Ganesh, Bhavana, Rangayana Raghu, Sadhu Kokila, Sudha Belawadi, Avinash, Giri and others.
Cinematography – Vaidhi
Music – Arjun Janya
Producers – Naveen and Ramesh Kumar
Screenplay, Direction – PC Shekhar
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