Have you ever experienced those moments when adrenaline rush decides your course of action when faced with danger? Well, in Saahasam Swaasaga Saagipo, the same A-rush decides how the story ends, at least partially.
In a love story, a conflict or danger is an obvious crucible that forms the plot. But presenting it in the most unpredictable way is what a good script can achieve. This story attempts to bring that effect. A boy falls in love with a girl and goes on a road trip with her and his “first love” (his RE bike). They meet with an accident after which the film turns into a thriller. The film shows how a flight-or-fight reaction can be fused with a romance. It is a textbook portrayal of how people react when pushed to their boundaries.
Naga Chaitanya and Manjima breathe life into their characters. The actor and director attempt to recreate the magic of Ye Maya Chesave and almost succeed. In fact, Leela’s (Manjima) voice has been dubbed by Chinmayi (who dubbed Samantha in YMC) to play on the nostalgia factor. The evolution of Chaitanya from a boy with little or no ambition to a man who holds the reins of his own life is presented well. The only thing that feels contrived is how he becomes a cop finally. Manjima is perfectly cast in her role.
The contrast between the two is also striking — a composed Leela, an outspoken Rajnikanth (yes you heard it right, Chai as Thalaivaa), a romantic first half that meets a violent second half via a memorable song is something only Menon could have captured so well.
The script is less focused on dialogues and more on expressions and actions that make the connect seamless and practical. The violence takes place in Maharashtra and plays on the nexus between police and politicians. The baddie of the film is Baba Sehgal and he is so bad, he is good. As the crooked cop who speaks Marathi laced with a mockery of Telugu, he is the high point of the film.
And then, we have Mozart of Madras A R Rahman adding eccentricity to the film with his music. With urban tracks, raps and background music, he captures the various emotions and moods of the film.
The only grouse we have is with the rushed climax. It seems the director was in a rush to reach the perfect ending and cut a few corners. There is a mild energy drop during the last moments of the film but grandness of the rest of the show is enough compensation.