November 26, 2010 Y. Sunita Chowdary
Director Bhaskar thought he could make a cerebral film with a romantic touch and give it a colour. He also was lucky enough to get a hero who gave a massive hit in the recent past and so gave him the role of a graffiti artist; instead of giving the artist some clarity about his role, he grabs the colour tin from his hand and splashes colours all over the screen, so much that you cannot distinguish orange from red and red from yellow, the end result is that audience go clueless and colour blind.
The director is clearly reeling with a Bommarillu hangover, in this movie Orange instead of a father-son conflict it is a pair of lovers thrashing out their views and ideologies on love. The point is simple, the hero considers himself the world's greatest lover, is obsessed with his likes and dislikes and keeps falling in love with many girls without promising a commitment.
If 'commitment' is the crux of the story, the director fails in eliciting any kind of expression from Ram Charan that remotely shows his beliefs and even his body language doesn't suggest that he has fallen in love even temporarily. The youth for whom the film is targeted are the first ones who fail to feel or connect with the emotion. Strange and also surprising that he is the same director who made Allu Arjun come out with intense emotions in Parugu despite a static location.
To make the character of the film realize his limitations, he wastes a single line script, converts it into a nonsensical drama compelling the audience to take multiple popcorn breaks, so much that even the comedian in the film Brahmanandam scratches his head and declares that he hates love stories. Not many people can understand beyond three colours and it's significance, how else will the vast Andhra Pradesh populace if at all they watch this film, made to understand that Orange is the first flush of love and it has some connection with the story.
Thankfully, he throws up a surprise, you do keep saying okay..there is Gayatri Rao, there is Avasarala Srinivas, there is Naga Babu, Prakash Raj, Prabhu and Manjula and her husband and a miserable marketing strategy..who serve no purpose at all. To show the predicaments, quandary of the protagonist, the filmmaker needs to engage the viewer first in the first fifteen minutes, here you have the hero yelling and the heroine screeching, yelping and the Telugu goes beyond comprehension.
Genelia does look young, but her expressions aren't, they are worn out. There is no novelty in her work, except her hair style. She plays the daughter of a couple who appear once in a while and smile on the framed pictures on the walls, the mother has no problem revealing that she isn't in love any more..but for godsake why that forlorn expression?
It is a universal truth that an ordinary couple do not on a day to day basis keep cootchie cooing and repeating I love you's on a minute to minute basis, even in the best of love marriages, romance takes a back seat once the child comes of marriageable age. The daughter takes the expression from her mother as a revelation which is indeed a serious aberration. Ram Charan looks disinterested in the role and appears to be just another artist in the drama etched out by Bommarillu Bhaskar. Rest of the characters while away their time as well as the audiences.
One number is worth listening and so is Ram Charan's dance. Dialogues are a yawn, visuals are pleasant and Sydney..must ask Bhaskar how it was, and how it looked like because he had been there twice. Had he been faithful to the original [Bachna Ae Haseeno], some sort of sanity would have been achieved. Finally, stay at home, and peel Nagpur Oranges for the tangy and sweet taste..say no to Oranges that have labels.