An unexpected casting for a role is an exciting prospect. It could give you a better reason to catch the film in the theatres, especially if the actor in question is coming back after a sabbatical or attempting something against their normal image. However if this is not done well, audience tend to complain that injustice has been done to their body of work.
Take the case of Brahmotsavam that was billed as a multi-starrer. Revathi, Thulasi, Jayasudha, Saranya, Rao Ramesh, all actors who have the potential to save a sinking ship were in it. Yet, except for Rao Ramesh, none got parts where they could invest in their experience. Revathi (her recent films being Anukshanam and Loafer ) and Saranya (only her second direct Telugu film after KomaramPuli ), known to be choosy, had roles that weren’t substantial enough to make an impact.
Srimanthudu was similar. Sukanya, Sithara and Thulasi were reduced to static objects in the background for most parts of the film. The reasons for actors to choose similar projects have been a mix of the value of the director, the banner, the remuneration besides the assurance that they would be adding value to the narration. Sowcar Janaki was a breath of fresh air in both Kanche and Yevade Subramanyam , but was wasted in Soukhyam for instance.
Others in this list include Tisca Chopra (of Taare Zameen Par fame), who forayed into Telugu films, playing mother in Srinu Vaitla’s Bruce Lee . A major portion in the film had her being slapped by Brahmanandam in what was passed off as ‘comic relief’. Sardaar Gabbar Singh too didn’t do much to add to her repertoire.
Yesteryear heroine Radhika, who came back to Telugu films after a 13 year gap with a rather small Undile Manchi Kalam Mundumunduna in 2014, claimed, prior to the release, that she was bowled by the first-time director Arun Dasyam’s enthusiasm. And did the film or the actor’s role meet expectations? Not quite. So was the case with Srivariki Premalekha fame Poornima, whose presence as a melodramatic mother in Andhra Pori too failed to register a chord with audiences. Only a handful of comebacks, say from the likes of Raasi, who managed to bag a decent role in Kalyana Vaibhogame and Nadhiya, who’s being stereotyped in the authoritarian-mom roles, have managed to prove otherwise.
It’s high time storytellers don’t rely on names in films to sell a story.
The hype surrounding the names may bring crowds to theatres, but it’s the character’s solidity that needs to back it up.
