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Cast: Ram Charan, Genelia, Shajan Padamsee, Prabhu, Pavitra Lokesh, Brahmanandam, Manjula, Sanjay Swaroop, Pooja, Gayatri, Madhurima, Nagababu, Vennela Kishore, and others
Dialogue: Tota Prasad, Surendra Krishna
Music: Haaris Jayaraj
Cinematography: Rajashekar and Kiran Reddy
Editing: Marthand K Venkatesh
Action: Peter Hiens
Art: Anand Sai
Executive producer: Manyam Ramesh
Produced by: K Nagababu
Banner: Anajana Productions
Story, screenplay and directed by: Bhaskar
CBFC Rating: U
Release date: November 26, 2010
What's it about!
Love is forever is an absurd thought, believes Ram (Ram Charan), a graffiti artist in Sydney. So he keeps falling with girls and parts ways with them. Quite contrast to his ideology, Jaanu (Genelia) believes in the idea of love and is on the quest for 'right guy' to live for life. Ram meets Jaanu, keeps persuading her to fall in love with him. She falls for his charms but when she learns that he can't love her forever, she gets jolt. Does love fade with the time or it is eternal? They argue on this for rest of the story.
Analysis
Director Bhaskar has peculiar way of writing a film. He tends to put an argument about relationship enrichment through his films. He did beautifully in his maiden film, Bommarillu . It became repetitive in his second film, Parugu . In his third movie, Orange, it turns out to be futile exercise. Both the lead hero and lead heroine constantly argue about whether love is eternal or will it fade with the time. They never 'romance' or 'love each other' in the film instead they constantly quarrel over this silly arguments. Few minutes into the film, we get the feeling that we came to a seminar on this subject than to a theater to watch a supposedly romantic drama.
The film starts off with most idiotic scene and goes on with no aim till the interval. In the second half of the movie, one glues to the proceedings but again it gets tiresome towards climax.
Bright visuals, beautiful locations (Sydney, Mumbai and Malaysia), fantastic music by Haaris Jayaraj and Ram Charan's style are positive side of the movie. Rest of the movie gives is clichéd.
Only two segments in the film are impressive - the romance between Ram Charan and newcomer Shajan Padmsee in Mumbai. And the truth and dare sequence in the second half of the movie.
There is no chemistry between Ram Charan and Genelia, in fact there are no 'true romantic' scenes between them. Blame it on the director's hollow script.
Performances
Ram Charan looks suave with trendy costumes - a big departure from his first two movies. He has transformed into fashionable guy thanks to the costume designer Sabina Khan.
Newcomer Shajan Padmsee remains in her mind with her stunning beauty and innocent face. She also shares great chemistry with Ram Charan. She is the bright aspect about the film and will sure win more chances in Tollywood.
Genelia's histrionics have now become very irritating with her gestures like a mentally challenged girl. She also looks too old and her excessive 'make-up' and over the board performance actually makes us no connection with her character.
Madhurima, Pooja (Nenu Devudni fame) and Gayatri a ppear in cameo roles. There are host of other actors - Prakash Raj, Prabhu, Manjula, Sanjay Swaroop - but none of them have good characters to make an impression. Brahmanandam's so-called comedy is hardly evokes laughter.
The script and scenes are written by the director is so silly that all the characters in the movie behave as if they don't do anything in life but bickering constantly. Ram Charan tells his story to a police officer (Prakash Raj) in Sydney and the police officer forgets his duty and listens to this guy's love story for half day. Looks like cops in Australia don't have much work.
Cinematographers Kiran and Rajashekar have provided bright visuals. Matching locations of Malaysia with Australia are good. M usic by Haaris Jayaraj is definitely qualitative and is more impressive on hears. Ruba Ruba song is best of the lot. On screen, the songs look same as all of them are rendered through male voice and Ram Charan constantly imitates Ghajini Surya steps.
None of the dialogue is unimpressive. Editor Marthand should have downsized the length of the movie. It is clear that producer Naga Babu has thrown in lot of money to give the grandeur look but most of it is unnecessary.
In Trivikram's films, you find every character in the movie mouths 'punch' dialogues. And in Bhaskar's films, everyone speak 'jeevita satyalu'. Such things become pointless when you don’t have substance to hold them. That is where the director Bhaskar has failed in the movie.
Bottom-line
There is phrase in Hindi - dialogue baaji band karo . We tend to feel the same when we watch the movie. Orange may be the symbol of love but we hardly find any love in the movie. Less love, more arguments about it. Youth audiences may like certain scenes and music but the movie on the whole doesn't appeal. Content wise, it is big let down.
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