Saturday February 16, 2019
"Jai Simha" Movie Review - Tollybeats

"Jai Simha" Movie Review

Updated | January 12, 2018 17:56 IST

Movie: Jai Simha

Production Company: CK Entertainments Pvt Ltd
Cast: Nandamuri Balakrishna, Nayanathara, Natasha Doshi, Haripriya, Brahmanandam, Prakash Raj, Ashutosh Rana, Murali Mohan, Jayaprakash Reddy, Prabhakar, Shiva Parvathi and others.etc..
Action: Ram-Laxman, Venkat,
Art : Narayana Reddy
Editing: Praveen Antony
Music: Chirantan Bhat
Cinematography: C Ram Prasad
Story, dialogues: M Ratnam
Producer: C Kalyan
Direction: KS Ravi Kumar
Release date: 12-01-2018

Rating: 2.0 / 5

Nandamuri Balakrishna witnessed many hits with his previous Snkarnti releases and brings another masala movie for this Sankranthi season and the expectations on the movie are flown.
Let’s see whether the movie lived up to the audience expectations?

Narasimha(Balakrishna) Narasimha (Jai Simha) is a man on the run with his one-year-old son. He moves to Kumbakonam and starts working as a driver and stays at the house of the village temple's dharma karta's house. There, he comes across a corrupt cop and keeps fighting with him time and again. But while there, he bumps into Gowri (Nayantara) who seems to dislike him for some reason, despite being his childhood friend. Who is this Narasimha? Why did he come to Kumbakonam? What is his backstory with Gowri?

In Ravikumar’s world, persons who go to abroad pick up the drug habit and they wreak family’s reputation when they come back home. Especially woman actors are highly recommended for playing such characters. Police are powerless and the formidable gangster will indeed have a brother or son, whose only favourite pass time is to assault women on street with impunity. And the hero is always a man of his word with nerves of steel and a goldmine of a heart. Ravikumar refuses to overcome his own limitations. He still continues to be under the impression that the audience will buy his nonsensical and illogical hero-worshipping films

Narasimha (Balakrishna) travels from one city to another and one state to another in search of a peaceful life for him and his newborn child. He always tries to keep away from violence and turn the other way even when trouble comes calling. We here get the sense that he definitely had a violent past and has turned a new leaf for the sake of his son. And the director has written some preposterous sequences that pushes Narasimha to show off his action chops. And just before the end of the tedious first half, we finally get to see the true power of Narasimha.

Ravikumar seemingly wanted to create Rajinikanth’s Baasha-like interval sequence but fails terribly. His writing is so outdated that he comes up really short on building any tension into the narrative to set up the audience for a big revelation.

Actors’ Performances:
Balakrishna gets to romance three heroines in the film, including Nayanthara, Natasha Doshi and Hariprriya. Compared to other two, Nayanthara has a slightly stronger character in this hero-worshipping film. Prakash Raj, who plays Nayanthara’s father with grey hair and geeky glasses, looks far younger and fitter than Balakrishna.

Nandamuri Balakrishna has donned two different shades of the same character. Balakrishna has given his regular style of performance, nothing much to write about, there is no novelty factor. His maturity is seen in sentiment scenes in the second half though.

Nayanathara in brief role is effective. She has pulled it off well. Hari Priya as a lady mechanic and Balakrishna’s wife is okay.
New heroine Natasha Doshi doesn’t impress much. Prakash Raj as Nayanathara’s father shines. Brahmanandam’s comedy is outdated.
Murali Mohan is okay. Kalakeya Prabhakar and Ashutosh Rana have played their roles in a bland way.

Technical Merit:
Music director Chiranthan Bhatt has given different music for a mass movie.

The cinematography, artwork and action stunts are all good. C Ram Prasad captures the sequences in Kumbakonam and Vizag well but his work is quite routine in most parts.

M Rathnam’s writing is overloaded with over the top dialogues. Editing is okay

Pre-interval sequences

Bland second half
Old story
Outdated screenplay
Clichéd direction
Over the top masala scenes

Final Verdict: "No Jai" to Simha