Two years after the urban romcom Miss Shetty Mr Polishetty(2023), actor-screenwriter Naveen Polishetty returns with another film laced with humour. In contrast to the restraint he showed in that film, Naveen unabashedly plays to the gallery in Anaganaga Oka Raju. The humour is delivered through gags that come at such a rapid pace that the audience may not get a breather to pause and reflect.
The story, screenplay and dialogues, written by Naveen and Chinmayi Ghatraju, who is also credited as creative director, weaves in an angle of social responsibility. Within the broad framework of outrageous comedy, the sense of purpose given to the principal characters makes this film stand apart from Naveen’s earlier madcap comedy, Jathi Ratnalu(2021).
Director Maari makes Naveen (as Raju) take centrestage for much of the film. The opening portions establish clearly that the film is not intended to be taken seriously and the humour might largely stay in the no-brainer zone. The story arc is extremely predictable. Anyone acquainted with mainstream cinema can gauge what is likely to happen soon after the opening episode. Yet, the writing ensures few sharp lines that make the gags work.
Anaganaga Oka Raju (Telugu)
Director: Maari
Cast: Naveen Polishetty, Meenakshi Chaudhary
Runtime: 150 minutes
Storyline: A lazy, entitled brat who wants to lead an easy life is in for a rude shock that changes the course of his life.
Somewhere in Peddapalem, Andhra Pradesh, Raju is a descendant of a zamindar who once had wealth that could have lasted generations. What’s left now is a hollow reminder of the past, but Raju puts up a show of wealth. Driven by a sense of entitlement and laziness, he sets out to do the obvious — find a wealthy bride so that he can live life king size.
The initial half hour is shaky and the film finds its rhythm once Charulatha (Meenakshi Chaudhary) is introduced. When Raju crosses path with Charulatha, who is decked with more jewellery than she can possibly carry on her slender frame, it’s easy to predict the twist. The writing of the humour makes up for this predictability, and a string of gags poke harmless fun at films ranging from Baahubalito Titanic, artistes from Arijit Singh to Ranbir Kapoor, and even K-dramas.
Naveen is in great form as he sails from one gag after another. Some of the nonsensical fun does not land, but he sets the stage for outlandish humour, such that when he unleashes the idea of ‘Peddapalem branch of Goa’s Baga beach’, it is easy to give in to the fun.
Mickey J Meyer’s music complements the fun, and the humorous mood makes it easier to overlook the limitations of the technical departments.
Once the key twist is revealed, the film loses its momentum for a while. Thankfully, the narrative sidesteps the possibility of an envious antagonist taking a cliched route to settle scores. The humour and drama feel stretched in some segments, as though the makers ran out of ideas. A couple of songs too seem unwarranted.
The film is redeemed when it shifts gears from an outrageous comedy to a social satire that taps into reel addiction and apathy for ground-level issues. The story does not break new ground. We have seen similar episodes in other political dramas, but it still has enough depth to make the transformation of the protagonists convincing.
The film rests heavily on Naveen’s shoulders and he puts up a vibrant show, making both the humour and the final emotional moments work. Within the limited scope given to her character, Meenakshi makes an impression. Rao Ramesh and other actors are wasted in under-written parts.
Anaganaga Oka Raju could have benefitted with sharper, crisper writing. Despite the uneven narrative, Naveen’s comic timing and Meenakshi’s graceful screen presence make the film immensely watchable.
