Lenin, produced jointly by S Naga Vamsi and Akkineni Nagarjuna, was released in theatres today.
Plot:
In Chittoor district, the village of Bharatham Mitta's identity is bound to the annual grand festival honoring Goddess Draupadi. Jayamma's family has long held unchallenged authority over the festival's rites, a legacy that draws constant envy and intrigue from a rival faction led by the local MLA, determined to seize control. Lenin, an orphan taken in by Jayamma's family, is raised alongside her son Vasanth. Lenin grows into his most devoted friend. That loyalty is tested when Lenin falls in love with Bharathi, a girl from the same village. This is when fate and family politics intertwine to deliver a series of blows.
Performances & Technical Departments:
After a costly misfire like Agent, Akhil couldn't have asked for a better genre. He is superb as a loyal, self-effacing friend/foster son. His performance is on a crescendo in the second half. In one of the scenes, he shows his character's cluelessness, disorientation and pain in a superior fashion. Bhagyashri Borse is more commendable here than she was in Andhra King Taluka. For the actress, the role of a no-nonsense lover girl was a Godsend after her acclaimed act in Kaantha. The Akhil-Bhagyashri duo makes for a lovely pair.
Kannada actor Pramod Panju is fine as Vasanth. Since the character needed someone with no image, he was rightly cast. Sivaji hasn't gone over-the-top for the first time since Court. For Easwari Rao, the profound role is as consequential as her Salaar part. Actors like Sunil, Ramki, Brahmaji, Getup Srinu, and Pavani Karanam fit the bill. Jr NTR's voice-over at the beginning is good.
Thaman (music director) and Leon Britto (cinematographer) deliver a far more authentic output than Avinash Kolla (the production design is derivative in nature). The editing by Navin Nooli is near-perfect, the complaints about the romantic songs notwithstanding (since this is a romantic revenge drama, it's inevitable that the songs have to be indulged). The Action Choreography by Dhilip Subarian, Ram-Lakshman, Vijay, and Real Sathish is not inventive, but the emotional foundation does the trick.
Post-Mortem:
In Lenin, the story takes off as festival politics, with at least one character making his lust for power evident. But the plot deepens as the central love track blossoms and old rivalries sharpen. A devastating betrayal upends the life of a key character, landing them in prison for a crime that reshapes their destiny. The film builds toward its reckoning: whether a key marriage endures, whether Lenin reclaims his lost love, and who ultimately faces his wrath once he unleashes his 'vishwaroopam'.
Woven from mythology, loyalty, betrayal, and vengeance, Lenin traces one man's journey from selfless sacrifice to reckoning against those who wronged him. The accidents and conspiracies, the negative players and the reveals that come with a sense of finality are as many as the days for which the festival takes place.
The stand-out moments are many. Lenin's first reaction when he sees a prominent character for the first time since he came to know about him/her is authentic. It's that kind of a touch that visual storytelling needs. Themes like purity and honour are heavy in the second hour. The scene where a pivotal character reveals the dark recesses of his mind to men who are not visible to his naked eye is another interesting one.
That said, some of the stretches feel like we are watching a small-scale rural family drama without stakes. This is particularly the case during the portions that don't involve Akhil. The Mahabharatham parallels are not ideated in a novel way. Director Murali Kishor and his writer, Nandu Savigrama, believe that their narration holds an epic quality.
Closing Remarks:
Grounded narrative is a plus. But well-worn tropes are a negative. Overall, the superior performances and production values make Lenin worth a watch.
