‘Shyaam Singha Roy’ review: Nani and Sai Pallavi make it extremely engaging

real hero introduction scene in telugu movie Shyam Singha Roy Happens at the middle mark. Slowly, coming to the whole idea, is not a man who has beaten goons for music, but a fearless writer in Bengal of the 1960s and 70s. The typewriter, pen and printing press are the weapons of Shyam Singha Roy (Nani). When he is offered a gun to harmonize with the Naxalite movement, he chooses the pen and claims that it is more powerful than a sword. Director Rahul Sankrityan and writer Satyadev Jung establish us as a writer, a thoughtful hero. Even the encouraging title song rings in for Shyam’s scenes working in a printing press and his books being bestsellers.

There are two worlds – that of an aspiring filmmaker Vasudev Ghanta (nani in dual role, nickname for the actor’s real surname) and writer Shyam Singha Roy. Shot in a comparatively cool tone by cinematographer Shanu John Varghese, Vasu’s world can be any new filmmaker’s. After leaving his IT job, he makes a low budget short film which becomes his passport to making a feature film. The production design (Anivas Kolla) dutifully fills Vasu’s residence with film posters and books on films from acclaimed directors ranging from Satyajit Ray to Mani Ratnam. The film-making process involving Keerthy (Kriti Shetty) and friends (Abhinav Gomatam and Ankit Koyya) is replete with lines that depict with humour the sufferings of budding filmmakers.

After the success of Vasu’s film, a legal trial leads to conflict, which leads to Shyam’s search. Though the most beloved parts of the film unfold in old-time Bengal, the parts leading to it are not in vain. Vasu’s short film comes in handy at a crucial moment later in the story. A scene where Vasu stops the men harassing Keerti becomes a tool to move the story forward. Same is the case with the intimate scene of Vasu and Keerti. This is not meant to play in the gallery, but to bring about another conflicting moment. In these parts, Rahul effectively breaks down cliched tropes.

It may seem convenient to have Keerti as a psychology student, considering what Vasu will soon encounter, but it effectively works and Kriti Shetty does it well.

Unlike Vasu and Kirti, who are today’s urban youth, parts of Bengal introduce us to Shyam and Maitreyi aka Rosie (Sai ​​Pallavi). Shyam Raja is based on reformers like Ram Mohan Roy, who was aware of his class privileges and raised his voice against religious, class and gender discrimination.

The ideals that define Shyam and how they meet Maitreyi, confined to the Devadasi tradition, come across as poetry. Romance blossoms as both ride on moonlit nights to the song ‘Sirivanela’ penned by the late Sirivenela Sitaram Shastri, sung by Anurag Kulkarni to the melodious music of Mickey J.

Nani portrays Shyam with an innate sense of pride and effectively separates him from the quiet friend Vasu. Shyam’s style and body language dates back to the times of Ray and Guru Dutt and his demeanor reflects his fearlessness. Afterwards jersey, Nani gets another chance to bite into a well-muscled character that requires him to go the extra mile, and he does remarkably well.

Sai Pallavi never ceases to amaze. She plays Maitreyi with empathy, showing vulnerability as well as a willingness to fly. The song ‘Pranvalaya’, which capitalizes on her dancing skills, strikes a chord with the story.

Komal flourishes in depictions of the relationship, as Shyam cooks food or heeds Maitreyi’s plea to do something for other women in the devadasi system. Shyam mentions women skilled in art who have risen from the shadow of the system and thus encourage Maitreyi.

Some of the other important characters played by Madonna Sebastian, Rahul Ravindran and Murali Sharma are also well crafted. Madonna is good as the headstrong, no-nonsense lawyer and Murali Sharma echoes our views when voicing her disbelief in court. As far as Rahul is concerned, discussing anything misses important moments of the story.

Although the film kept me invested, it was also very easy to connect the dots. The glimpse and final revelation of a man in a wheelchair was no surprise. The third act boils down to Vasu following a course of events, which takes place on expected lines, before presenting the full picture. The mystery surrounding Shyam could be felt up to a mile away.

That’s not to say that this is a movie at all. But with a little more thought, it could have been better. Despite these shortcomings, a lot is happening Shyam Singha Roy, We don’t often see Telugu movies celebrating the power of the written word and that itself deserves to be happy.