On a business trip to Kashmir, Iplav (Vijay Deverakonda) meets Aradhya (Samantha) by mistake. He falls head over heels for her right away. Viplav finally succeeds in winning her after much wooing. But far than being the solution, it is just the start of the issue.
What problems are brought up by the two families of Viplav and Aradhya? The main plot revolves around what transpires when they decide to remain alone and how the family ultimately changes.
Image curtsey by Twitter
Performances in Kushi
Vijay Devarakonda is back in the boy next door role after his first attempt received a significant amount of support. The lengthy pause makes it enjoyable to observe the actor.
He looks fantastic in both formal and basic attire. There is an immediate likeability factor when he is present. The dialogues are also kept natural to avoid sounding too theatrical.
Up until the start of the interval block, Samantha generally maintains her composure. The characterization is the main reason. After intermission, when she has a lot of work to do, the true drama starts. Unsurprisingly, she is doing fine.
Vijay Deverakonda and Samantha both perform well and stand out on their own. They also appear good as a pair, but the wording lacks the substance to elevate them to a magical level.
Analysis Kushi is directed by Shiva Nirvana, known for Tuck Jagadish, Majili, and Ninnu Kori. It will be obvious what to expect from Kushi if one has seen such movies.
Image curtsey by Twitter
His stories are obviously influenced by the past, but he strives to give them a more modern, dramatic presentation. Kushi begins on a predictable course, as was to be expected. The love track starts out as the plot swiftly shifts to Kashmir. It is lengthy and includes a few tunes as well.
The connection between the primary actors, the music, and the unforgettable moments are crucial components for any romantic song to succeed. The ‘lead duo’ is not a big deal here, and the songs work as music. Where Kushi falls short is in the writing and the “moments” between the two. The magic is not there. It goes without saying why one would believe that the love tune is lengthy.
It becomes unnecessarily extended after a while. The extra emphasis on the love story in Kashmir feels unnecessary because we already know the outcome and there is a new challenge and tale to be told.
After the lead pair arrives at their destination and meets their parents, one would think that things would progress swiftly, disclosing the conflict point and arriving at the interval point.
The stretched narrative once more takes center stage even though the collision of ideologies or “conflict” actually occurs. One becomes a bit uneasy and searches for the watch during the entire interval section that comes “after” the pre-interval block. By the time the intermission comes, one can feel as though they have seen the entire movie. That is how long it is.
The proceedings’ predictability increases the impact even more. However, the airiness, music, and a few enjoyable moments make it tolerable and raise expectations for what comes after the interval.
The main issue in the film is the ideological dispute between the families. The two, however, set aside the “conflict” and proceed with their difficulties in a manner reminiscent of Shiva Nirvana’s earlier works. The story then continues by including some comedic elements and extra subplots.
They merely make the already problematic length longer. The pacing issue is something else we have in the second half. It seriously slows down. There are a few blocks that seem to continue on forever. The pattern set forth by Shiva Nirvana in Ninnu Kori and Majini is followed by Kushi.
The format is a fun-filled first half and a blend of emotion and fun in the second half with a coming-of-age theme toward the end. Only in this case do outside forces have a significant role in determining a married couple’s fate and their “coming of age.”
The story eventually returns to the central conflict by the climax after the diversions, adhering to the formula. Here, egos and ideological disagreements within the family are addressed. The overall execution is passable, but the method the story gets there falls short of elevating it.
Kushi is essentially your standard Shiva Nirvana potboiler love story. Although the length and plodding pace are boring, the sporadic humor and emotional climax make it worth seeing just once.
Actors’ Performances by Others Vennela Kishore makes a significant first-half appearance in addition to the lead couple. He doesn’t mind being the comic relief while the romantic music is still playing. In the second half, Rahul Ramakrishna plays a role almost similar to it.
Both contain components that fit in with the everyday. As supporting actors, Murali Sharma, Sachin Khedekar, Jayaram, and Rohini co-star in the main drama.
They perform their assigned responsibilities satisfactorily. They frequently perform the same tasks, but they manage to keep things going. Srikanth Iyengar and the rest of the cast, among others, are fine.
What other departments have music? Kushi marks Hesham Abdul Wahab’s first Telugu film. He makes a respectable effort with the song.
The songs are enjoyable to listen to, and some of them even appear the same on the big screen. The cinematography of G Murali is excellent. It improves the movie, especially in the opening act as Kashmir serves as the backdrop.
Being largely indoors or in crowded areas prevents the second half from having the same effect, but it is still good. Editing by Prawin Pudi may have been more effective. With more careful cutting, Kushi could have performed significantly better.
In its present shape, it seems extensive. Although nothing particularly noteworthy, the prose is passable. The movie has high production qualities, giving it a luxurious appearance.