What sets Dasara apart from other commercial movies is its drastic tonal shifts in the middle. The two halves of the movie differ not only in terms of their tonality but also in overall pace and approach. It's like seeing two different movies in quick succession;
The pre-interval segment is on comparatively lighter note as it is all about establishing these characters and the respective places they are coming from, whereas, post-interval, the movie takes a dark turn as now the story finally starts creating the much-awaited human drama and confrontations that subsequently pave the way for an electrifying, action-oriented conclusion with Nani, our lead protagonist, at the heart of the matter.
Now, speaking of Nani, he embodied Dharani with utmost sincerity and utter conviction; he became so engrossed in his role that he was at times unrecognisable. Keerthy too warrants some commendation for her effortless and unwavering depiction of Vennela, Dharani's romantic interest. I found myself liking both their chemistry and the tragic story they happen to share.
In spite of all the above, the film failed to reach its fullest potential for three key reasons: first, the villain here is weak, untenable, and there is hardly any build-up given to him; secondly, the music numbers, or the way they were placed, seemed unjustified and functioned as pointless distractions, thereby disrupting the flow of the narration; and last but not the least, the script itself, which was all too routine, lacking any real twists or turns! Even the anti-alcohol message in the last minute felt forced & inconsequential.
The pre-interval segment is on comparatively lighter note as it is all about establishing these characters and the respective places they are coming from, whereas, post-interval, the movie takes a dark turn as now the story finally starts creating the much-awaited human drama and confrontations that subsequently pave the way for an electrifying, action-oriented conclusion with Nani, our lead protagonist, at the heart of the matter.
Now, speaking of Nani, he embodied Dharani with utmost sincerity and utter conviction; he became so engrossed in his role that he was at times unrecognisable. Keerthy too warrants some commendation for her effortless and unwavering depiction of Vennela, Dharani's romantic interest. I found myself liking both their chemistry and the tragic story they happen to share.
In spite of all the above, the film failed to reach its fullest potential for three key reasons: first, the villain here is weak, untenable, and there is hardly any build-up given to him; secondly, the music numbers, or the way they were placed, seemed unjustified and functioned as pointless distractions, thereby disrupting the flow of the narration; and last but not the least, the script itself, which was all too routine, lacking any real twists or turns! Even the anti-alcohol message in the last minute felt forced & inconsequential.
