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Dongata Review in Telugu

The narrative deepens to become a complicated “dongata,” according to the title, and the movie “Dongata” avoids becoming a forgettable criminal comedy with a dash of old-fashioned melodrama. The final 25 minutes or so make up for the lack of freshness felt up until that point, even if the intermission boom doesn’t look as magnificent as the producers may have intended.

Film actress Shruti (Lakshmi Manchu) possesses both humility off-screen and feistiness on-screen. Three young people, Madhu, Prabhakar, and Venkat (Adivi Sesh), formulate a plan to kidnap her for a Rs. 10 Cr. ransom.

The clumsy trio successfully carries out their plan, but they may be in danger if Brahmi, a low-IQ self-styled investigator with foresight on occasion and obsessively lecherous tendencies, joins them. The problem is that Brahmi is the owner of the flat where Shruti is being held hostage. They now need to obtain the significant sum they wanted from the actress’ mother, all the while trapping Brahmi as a co-conspirator in their scheme.

As far as dramatic twists in movies go, a well-executed twist is to the film’s credit. Here, the measured narrative of mind games and the moth-eaten narration of the orphanhood/jilted parents’ story coexist like chalk and cheese.

In order to liven up the proceedings, the filmmaker relies on some predictable components. True to his charmingly assured and hilariously hesitant persona, Brahmi exudes vigour. However, after a time, he is relegated to doing trite humour and double entendre with the underappreciated actor Prithvi Raj by his side. Pragathi, luckily, gets to play a role for which no performing experience is necessary. Brahmi and Rana’s encounter (‘Mee papa ela unnaru? Unnaru mee babai? Mee girlfriends ela unnaru?) causes some mild laughs.

Between Prithvi Raj and Brahmi, the latter certainly possesses talent that has not yet been discovered.

Jayaprakash Reddy’s idiotic comedy should have been avoided due to the lame parody (read the brief Bollywood song involving Brahmi and his muse), the lame drunken overacting (read Lakshmi Manchu’s “lechindi, nidra lechindi mahila lokam” moment and the “female shakti” stuff), and the constant reference to Brahmi as “pottodu.”

Had the song been more musically appealing and had better visuals, the overabundance of stars and starlets making cameo appearances may have received a significant boost. In terms of music, Nagarjuna, Ravi Teja, Nani, Simbu, Manchu Manoj, Rana, Tapsee Pannu, and Navdeep do not make up for the missed potential.

The tale is a consolation prize if the scenes aren’t visually stunning in any way. Laskhmi is undoubtedly a talented actor. In the sequences leading up to the finale, she displays sharpness. Adivi Sesh, who up until this point has been somnambulizing through his character (perhaps in an effort to appear subdued in retrospect), displays guts and matches up to Lakshmi, whose Shruti may be a nod to Soundarya’s tomboyish persona in Kodi Rama Krishna’s “Dongata.”


DirectionDileesh PotanLinkLink
Story writerSanjeev PazahoorLinkLink
ProducerSandeep Senan
Anish M. Thomas
castFahadh Fazil
Suraj Venjaramudu
Minisa Sajayan
PhotographyRajiv RaviLinkLink
compositionKiran DasLinkLink
Aha originalsLinkLink
Release Date6 May 2022 (Telugu) 
Movie length135 minutes
the countryIndia

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