Pratap Ravi (Vivek) begins to grow politically after a bloodbath of murders and other activities but his power is challenged with a bomb blast that sets him thinking. The man behind the blast is Surya Bhanureddy (Suriya), son of Narasimha Reddy (Kitty).
His attempt to kill Pratap goes in vain but DCP Mohan Prasad (Sudeep) locates Surya and asks him to surrender. Meanwhile, Pratap also knows that Surya is responsible for the attack and tries in various means to get him killed but is unsuccessful. Surya befriends Muddu Krishna (Aezaz Khan), the hardcore killer in the jail and reveals his flashback as to why he is so possessed with vengeance to kill Pratap.
On the other hand, those who are against Pratap realize the intention of Surya and decide to support him. In comes Swamy (Subhaleka Sudhakar) who advises Surya to make his wife Bhavani (Priyamani) to stand for the election. While the game of politics is on, Surya hatches his own plan to kill Pratap. How that happens forms the rest of the story.
Suriya is the life and soul for this movie. He has taken the film to a new level with his riveting performance and depicts the emotion of a man possessed by revenge in the truest form. The intensity he brought in his act will leave a lasting impression on the hearts of the audience for a long time.
Vivek Oberoi was competent and made his presence felt whenever he is on the screen. Since the focus of the story was on the opposite side, Vivek goes with the flow and conveys a man in internal conflict to the best. This will be a highlight film in his career.
Priyamani was natural and did her bit with ease while Radhika Apte was convincing in every frame.
Sudeep has a strong screen presence and his expressions are intense. Aijaz Khan has got the cold icy look which is apt for his role. Shatrughan Sinha was brief and composed. Subhalekha Sudhakar was effective. Subrat Dutta was nice. The others did their bit as required and added value to the film.
* Surya - Vivek jail sequence
* Sudeep and Vivek’s tete-a-tete
* ‘Naaku Chaavante Bhayam Ledhu…..Kaani Thanani Champakunda Chachchipothaanemo ani Bhayam’ – this dialogue got whistles and claps from the audience.
* Fight sequence in jail was well conceptualized
* Apparently, the scenes relating to Pedda Sir (assumed to be YSR) were censored but left enough controversial element with character name
* Swamy, whom audience understood as KVP Rama Chandra Rao.
* Suggestive hoardings of a leader showing only hands, diamond ring and traditional attire resembling YSR.
* Slow motion effects in action scenes.
* Above all, Surya’s mixed expressions while driving the car during the climax is unforgettable.
* Climax song ‘Kaththulatho Saavasam’ and freezing the film on the face of an infant boy with peace message.
* The people those know the real story find it hard to connect
* In reality NTR was no more when Paritala was assassinated. But here it’s other way round.
* It’s shown as if Maddelachervu Suri killed Paritala while Moddu Seenu lifted the blame, but in reality it’s known that Moddu Seenu killed.
* Lack of YSR’s role goes against expectations (although gap was filled with Subhalekha Sudhakar’s character which is apparently KVP)
While the first part dealt with the rise of Pratap Ravi, the second half deals with his fall and how at each stage, another force grows. Ramu may not be philosophical but he sure has shown the law of Karma in the right way- what goes around comes around. The best part of the film is that despite its brutal title and the feel that it will have some gory scenes, there is not a single shot which makes you squirm.
There is intensity in every shot but aesthetical presentation of violence is an absolute beauty one should learn from Ramu. There is no nonsense and the thumb rule that more than the hero or villain, it is the story that is important and it is seen clearly here. The dialogues were deep, the script was flawless, the screenplay was magnificent. But the people those know the story find it out of track. Historically the movie seems to be incorrect when compared to the first part. Hence it may disappoint the audience those wait to watch a true historical film.
The background score was haunting. But the editing was jerking. The opening ten minutes are breathtaking, the audience is drawn into the film within the first few seconds and there is no turning back. The shot composition by Varma is truly impressive. There are many learning points for aspiring film makers and other technicians. This is an excellent manual of film making for supporting crew. Unlike the first part, there is no brutal bloodshed but the essence of violence is conveyed promptly.
Overall, the film is a technical masterpiece and content is ok.
Bottomline: This is a ‘Charitra’ that haunts for a decade.