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![]() And it robs you of your painful wait for the ultimate redemption. ![]() God appears too easy, too soon and too frequently. There is an enchanting chemistry between God and the devotee, but there is no conflict. When Ramadasu finally dares the Lord singing "evadabba sommani kulukuthu tirigevu ramachandra", you marvel at the enigmatic silence of God that doesn't mind his dying devotee. Hathiram Bhavaji's story, despite being heavily fictionalized, doesn't have much dramatic appeal. And Nagarjuna doesn't disappoint this time either.īut there is only so much that a performance can shoulder when the drama is crippled. In all the earlier films (barring Shirdi Sai, in which he plays the saint instead of devotee), his momentary separation from the Almighty and his eventual suffering never simply stood as a show of his prowess but also evoked a deep empathy in the viewers. Nagarjuna's tearful eyes have their own way of portraying boundless adulation and borderline-destructive obsession towards his beloved God. But be it the evergreen Annamayya or the almost equally good Sri Ramadasu, what outshined all this desperate glamourization and blatant exaggeration is how consistently excellently Nagarjuna fleshed out his performances every time. A slightly revisionist take of devotee dramas that are very conscious and cautious of the commercial appeal and narrative tautness needed, to the extent that they never shied away from comedy tracks, cleavages and the timeless fruits-on-the-navel routine. The Nagarjuna - Raghavendra Rao devotional films have become a genre unto themselves.
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