The villains that are supposed to be scary, but are just annoying. The most frustrating thing about this film is that nothing is really earned. If the viewer is crying with a headache while a sad scene is going on screen, it is still a win, apparently. But then again, it could just be Gopi Sundar’s loud and openly manipulative background music. To his credit, some of the emotional scenes do work. Instead of letting hindsight guide him to make better versions of old tropes, the filmmaker chooses to make them worse, without much to counteract the results. But everything else is the same as it was in films from the '90s. Bosu (Jagapathi Babu) inviting the importance of blood relations is a clever way to establish his nature, and is decent foreshadowing as well. One of them is the relationship between Jagadish and his niece, Chandramma, played by Aishwarya Rajesh, who brings gravity and meaning to this woman’s childish stubbornness and eventual pain. Shiva Nirvana, the writer and director of the film, wanted to say many things, most of them noble, even if not new. How Jagadish, Naidu’s youngest son, puts the things back together is what the film’s about. The good Naidu, played by the ever reliable Nasser, dies one fine day, as older men with huge ancestral properties do, and things start to fall apart. As always, the fight is between two upper-caste families: one good Naidu and one evil Naidu. If Prakash Raj’s character from Seethamma Vakitlo Sirimalle Chettu is made to live in this village, he would die of heartbreak in the first few minutes. The landowners are greedy and want more land, which leaves the farmers who own small fields open to attack. Tuck Jagadish is set in Bhudevipuram, a village in East Godavari, if I am to go by the vehicle registration codes. There is something comforting about the fabric of a masala film, where everything the hero needs to happen just happens. A family who had drawn blood long before the film has even begun listens to our hero for just a minute and realise their mistakes. The same family becomes relevant again when it is time for the hero to proclaim his place as the people’s saviour. It is supposed to communicate with us the village’s land lust, and it does. We later learn that it is four brothers fighting over a single acre of their mother’s land. A few more people join, and things start to escalate, only to end with one dead body and one amputated hand. It is dark outside and two fuzzy silhouettes are seen discretely moving across a banana plantation.
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