W/O Ram takes up a few of those tools to narrate a different story. It took us in its sweep, made us overlook the clues and left us gasping at the threat faced by Vidya Balan. Talking of a make-believe narrative that was done so well, the best example in recent times is still Sujoy Ghosh’s Kahaani. Maybe this was also a part of the deal, to keep the audience guessing? A few of the initial scenes, with their dark and eerie tones of black and red to hint at danger are done well while a few other scenes and even dialogues are clunky. Her transformation from a victim to a woman with a purpose happens a little less organically than is necessary to make it convincing. Plucked out of happy matrimony, she steps hesitantly into the police station where her husband’s case would be left to rot. Then, there are the typical characters - a corrupt cop ironically called Satyam (Krishnaswamy Shrikanth Iyengar) and a new-to-the-system and hence empathetic cop Chari (Priyadarshi, in yet another convincing part), and other suspicious characters that lurk in dark corners. She’s lost her husband and her six-month foetus. A gunshot goes off, there’s blood on the wall and the next scene introduces us to a nondescript hospital in which she wakes up. In the opening scene, there’s a gun, Deeksha (Lakshmi Manchu) and someone else whose identity isn’t revealed. Even the atmospherics, characterisations and the narrative style would give it away because it’s a been-there-done-that deal. It’s a little tricky to discuss this film without revealing anything that could end up being a spoiler. There’s noticeable effort, which needs to be appreciated, but it doesn’t translate to a something that keeps us at the edge of the seat. The makers of W/O Ram take up this idea and try to build a clever conceit of a thriller. The predator is often someone she has trusted in good faith. Go for it if you want to see the locales of Hong Kong and its skyline.There are statistical records to show that crime against women, in many cases, are committed by people from known circles. The film has nothing much to offer except some stunning images of Hong Kong. What seemed like a thriller and a spy story becomes the usual masala film in the second half. It seems director Raghava Loki has lost direction of the film after the first half. The first half is brisk and engaging but the second half drags. The scenes shot in the casino are also splendid. Chandrashekar's camera work is excellent as the audience gets to see the skyline of Hong Kong. The music by Gurukiran is nothing much to write home about. Ashish Vidyarthi wreaks some havoc while Ravi Kale looks a bit timid. Rangayana Raghu's scenes could have been chopped as they are slightly overdone and unnecessary. However, her character is not meaty enough. Priya Mani looks slimmer and prettier than before and does justice to her role. There is little room for displaying emotions in this role for Shivanna. Shivarajkumar as usual excels in the action scenes. Lakshmi gets wind of Priya's whereabouts and her involvement with the gang.ĭoes Lakshmi meet Priya and does the couple reunite? This forms the Priya is now part of a terrorist gang, operating from Hong Kong, whose kingpin is played by Ashish Vidyarthi. Lakshmi's search for Priya takes him to Hong Kong and he does find where Priya is living but doesn't get to meet her. Priya becomes an object of suspicion and Lakshmi thinks she has fled with a criminal. One day Priya goes missing after she comes to know that her husband has secret weapons stashed in their bedroom. He leads a life that is full of tension but is helped by his dutiful and loving wife Priya (Priya Mani). Lakshminarayan (Shivarajkumar), called Lakshmi, is a CBI officer assigned to check human trafficking and embezzlement. The film ends on predictable lines with all the usual run-of-the-mill stuff. Srikanth Srinivasa Shivarajkumar-starrer Kannada film Lakshmi is an average film with rich production values and picturesque shots of Hong Kong.ĭirector Raghava Loki falters mid-way through Lakshmi after a good start, which gives audiences the feel of a thriller.
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