Director: Sudheer Varma
Cast: Nikhil Siddhartha, Rukmini Vasanth, Divyansha Kaushik, Harsha Chemudu
Music: Karthik
Cinematography: Richard Prasad
Editing: Navin Nooli
Produced by: BVSN Prasad
Overview:
Appudo Ippudo Eppudo is a romantic crime drama that brings back the celebrated pairing of Nikhil Siddhartha and director Sudheer Varma for their third film together, following Swamy Ra Ra and Keshava. Set in the vibrant city of London, the story aims to combine romance, drama, and crime. However, despite the promising premise and the legacy of their previous collaborations, the film falls short on multiple fronts, struggling with its weak storyline, lack of emotional depth, and fragmented narrative.
Plot Summary
The story follows Rishi (played by Nikhil Siddhartha), a young race car driver who relocates to London after a breakup with his love interest Tara (Rukmini Vasanth). Determined to move on and establish himself in his new city, Rishi unexpectedly encounters Tara again. As she rekindles her interest in him, Rishi’s life takes a chaotic turn with the arrival of his former girlfriend, Tulasi (Divyansha Kaushik). This love triangle quickly spirals out of control, and Rishi finds himself in the midst of a dangerous gang conflict headed by antagonists Ajay and John Vijay.
The plot thickens as Rishi is entangled in a murder investigation, further complicating his life as he tries to balance his tumultuous love life with survival in an unforgiving underworld.
Performances
Nikhil Siddhartha shines as Rishi, bringing an earnest charm to a character that, unfortunately, isn’t provided with much depth by the script. He convincingly portrays a lover in turmoil, oscillating between his two love interests, and manages to make his character somewhat relatable. Nikhil’s performance is one of the few highlights of the film, as he tackles a complex role that demands both intensity and vulnerability.
Rukmini Vasanth, in her role as Tara, is underutilized and left with a character arc that feels shallow. Her chemistry with Nikhil is lukewarm, and the script does little to explore her character’s potential.
Divyansha Kaushik steps into a surprising role as Tulasi, bringing an unexpected twist to the story. Her character has a few memorable moments, and she manages to capture the audience’s attention more than the other cast members. Divyansha’s portrayal adds a subtle depth to Tulasi, making her one of the more intriguing characters despite limited screen time.
John Vijay, as one of the primary antagonists, struggles to create a compelling presence. His portrayal of the villain is overly exaggerated, and his attempts at intimidation fall flat, veering more toward comedic than menacing. His character lacks the gravitas needed to make the audience feel invested in the story’s conflict.
Ajay and Viva Harsha have limited roles, and their performances contribute little to the story. Harsha’s comedic timing is usually on point but is stifled here by the poorly paced and uneven script.
Technical Aspects
Cinematography:
Richard Prasad’s cinematography is one of the film’s saving graces, capturing London’s scenic locales with finesse. The visuals add a refreshing quality to the film, giving it a polished look that stands out. The camera work showcases the vibrant streets of London, which, in the absence of a strong narrative, provides a visual treat for the audience.
Music:
Karthik’s music is a mixed bag, with songs that feel out of place and fail to add any emotional depth to the scenes. However, his background score does manage to elevate a few moments in the second half, providing some much-needed intensity during pivotal scenes.
Editing:
Navin Nooli’s editing fails to create a cohesive flow. The first half is littered with unnecessary scenes that drag the pace and dilute the impact of the story. Had the film been tighter, with more focused editing, it could have prevented the audience from losing interest. The second half is somewhat better, but by this point, the narrative’s lack of direction has already taken a toll on engagement.
Direction and Writing:
Sudheer Varma, known for his expertise in crime dramas, seems to struggle with Appudo Ippudo Eppudo. His direction lacks the signature style and tight storytelling that marked his earlier films. The film’s writing, which is typically Varma’s strength, disappoints this time around. The storyline jumps erratically from romance to crime without developing any aspect fully, leading to a disjointed viewing experience. The film’s scenes often feel improvised on the spot, lacking coherence and purpose, and resulting in an uneven and confusing narrative.
Strengths and Weaknesses
Strengths:
- Nikhil Siddhartha’s performance: Despite the film’s issues, Nikhil manages to make an impact with his portrayal of a conflicted lover.
- Visual Appeal: The cinematography captures London beautifully, lending a polished look to the film.
- Divyansha Kaushik’s role: She adds an element of surprise, bringing intrigue to an otherwise predictable story.
Weaknesses:
- Lack of Emotional Depth: The love triangle feels superficial, with little depth or chemistry between characters.
- Weak Villain Portrayal: John Vijay’s antagonist lacks credibility, making it hard for the audience to take the threats seriously.
- Poorly Written Script: The storyline feels fragmented, with scenes that fail to flow logically or maintain the audience’s interest.
- Outdated Narrative Style: The film’s story, especially the romance and action sequences, lacks freshness and feels outdated.
- Pacing Issues: The first half drags on, taking too long to establish the main conflict, while the second half fails to recover from the slow start.
Analysis
While Appudo Ippudo Eppudo attempts to explore multiple genres, including romance, comedy, and crime, none of these elements are adequately developed. The romantic storyline between Nikhil and Rukmini feels stale and does not bring anything new to the table, leaving viewers detached. The crime angle, which could have added intensity and suspense, is instead diluted by poorly written and illogical sequences.
One glaring example of the narrative’s silliness is a scene where Rishi, in a drunken state, takes a girl to a temple at 2 AM and ties a mangalsutra while the priest cheerfully officiates. Scenes like these, which are meant to add drama, end up coming off as far-fetched and out of place, detracting from the story’s believability.
Similarly, there is a scene where a police officer, instead of addressing a murder, listens to the hero’s story in a bizarrely casual manner, showcasing the lack of realism in the script. These and other instances of nonsensical plot points make it difficult for viewers to stay engaged.
The film’s tone shifts frequently without focus, and by the time it reaches its conclusion, the audience is left with a predictable and underwhelming climax. The final ten minutes attempt to build tension, but the predictability of the story robs it of any real impact.
Final Verdict
Appudo Ippudo Eppudo is a disappointing venture, especially from a director like Sudheer Varma, who has previously delivered engaging crime dramas. The film lacks the excitement, depth, and coherence that one would expect from a seasoned director. The combination of weak writing, poor pacing, and unconvincing performances from certain cast members makes this film hard to sit through.
The movie, at its core, suffers from a lack of identity, with each genre element half-heartedly executed, resulting in a film that ultimately doesn’t satisfy any audience segment. It’s a missed opportunity for both Sudheer Varma and Nikhil Siddhartha, as the film had the potential to be much more but is let down by its own inconsistency and lackluster execution.
Rating: 1.5/5
Appudo Ippudo Eppudo is, unfortunately, a misfire that fails to deliver any lasting impression and is likely best skipped for those seeking an engaging cinematic experience.
