Golimar Review

Golimar Review

Cast: Gopichand, Priyamani, Roja, Nasser, Kelly Dorjee, Shawar Ali, MS Narayana, Jeeva and Others.

Banner: Sri Sai Ganesh Productions.

Action: Vijay.

Art: Chinna.

Cinematography: Shyam K. Naidu.

Editing: Marthand K. Venkatesh.

Music: Chakri.

Presenter: Bellamkonda Sai Srinivas.

Producer: Bellamkonda Suresh.

Story, Screenplay, Dialogues & Director: Puri Jagannath.

Release Date: May 27, 2010

Telugu cinema had come up with many stories revolving around police either showing them in a condescending manner or eulogizing their achievements. Golimar gives a reason for the police department to take pride in their job and for others an opportunity to salute them. Puri Jagannath’s latest film that has Gopichand playing the hero is supposed to be inspired by the achievements of Encounter Specialist Dayanayak.

The film has Gopichand as Gangaram an orphan who joins as a child worker in a small restaurant, working in the mornings and studying late nights to become a police officer, his only dream, goal. He does and proves soon that the police is not meant to merely file FIRs in the police stations but have a larger role to play. The immediate task is to wipe out the offices run by two mafia dons Khalid and Talwa who have been operating for the past 15 years from Malaysia and India respectively. Though they are primarily extortionists they are into dark trade that is yet to be unraveled.

Gangaram makes his qualities visible that the first and foremost way to kill an opponent is to threaten and weaken them morally, hit them on the mind. Puri Jagan who’s been on a lean patch strikes back with a cop story that has vague similarities with Pokiri. While the thrill element comes after interval in Pokiri, Puri here establishes the identity of the protagonist in the beginning itself and weaves the narrative interestingly without bringing in monotony.

In the latter part of the film, the story threatens to run on predictable lines but falls in place quickly with some more twists and turns coming up at the right time. Nasser who plays the hero’s father in Pokiri throws up a surprise here. He lends an element of believability to both the roles with equal ease. Roja might have been unlucky in politics but her stint has definitely helped in portraying confidence, as a woman in command on screen in her second innings. She’s given a stupendous performance in an emotionally charged role in the latter half of the story.

Priyamani gels well with her and the mother daughter duo prove to be an asset to the film. Thankfully the make up isn’t bad and Priyamani trots in skimpily clad costumes on the beaches as well as acting as a bubbly woman with panache. Not revealing Ali most of the time has indeed helped.

It’s not about Gangaram saying “Dhamki dhena padtha hai” always, when he is done with eliminating one local villain, he moves abroad to finish off the drama. But before there are interesting changes in his life. Had it been only wiping off the criminals, the film would have been incomplete, so the director adds another angle to him. The hero turns into a gangster, extortionist and appears like Suri to give an exclusive to the media which precipitates the movement of the story.

The love angle is not awkward, songs and dances are in total sync, the songs rock and Priyamani is all gay abandon..freaking out on her jigs and work the spirit spills onto the screen. All the songs might sound mediocre while listening, but onscreen they are very good. The cop who doesn’t believe in payments only settlements, stays away from women fyi falls for the girl and all’s well that ends well. The humour is subtle nothing over the top whether it’s Roja pulling her daughter away from the cop’s arms and telling her to weep over her shoulders or Gangaram giving gyan to the shot don, “Padhi mandhini mosam cheste nuvvu baagupadthaav kaani ninnu nuvvu mosam chesukunte sankanaakipothaav.”

A theenmaar to Golimar..Gopichand stands tall here not because of his height but for giving a thoroughly entertaining performance.