Prabhu Mundkur delivers a stellar performance in 'Maryade Prashne'.
Credit: Special Arrangement
Nagaraja Somayaji’s debut feature set in the bylanes of Bengaluru’s Chamarajapete aims to portray the lives of the middle class. Three childhood friends, Satisha (Sunil Raoh), Manja (Poornachandra Mysore) and Suri (Rakesh Adiga) strive hard and look for a way to break from the shackles of the middle class.
Satisha, a failed entrepreneur, is focused on clearing his debts. He works as a food delivery agent. Manja, a cab driver, wants to buy a car. Suri, the henchman of a local politician, lives with the dream of becoming a municipal corporator. In addition to the trio, another important character is Satisha’s sister Lakshmi (Teju Belawadi), who works as a salesperson in a nearby mall.
The film begins on a heartwarming note, showcasing the cast grappling through the challenges of daily life. Lakshmi and Manja are in love and montages of the two spending time with each other in the humble streets of south Bengaluru are endearing.
However, a film that starts off as a slice of life tale soon turns superficial when the protagonists butt heads with a rich and spoiled entourage. A birthday celebration turns fateful, leading to Satisha’s death and thus, a revenge drama ensues.
The film provides proof of the acting talent present in Kannada cinema today. Rakesh as an angry young man, all brawn and no brains, is charming to watch. Poornachandra continues to deliver a grounded performance. Sunil Raoh and Teju Belawadi are convincing and Nagendra Shah as a memory loss patient leaves an impact. Rekha Kudligi as a caring and considerate mother is the cherry on the cake. But, it is Prabhu Mundkur, playing the role of a filthy rich brat with a criminal mind, who steals the show.
However, performances alone cannot save this stereotyped representation of Bengaluru’s class divide. The film fails to evoke the necessary emotions to make for a gripping watch. The second half of the film turns so preachy that it seems agenda driven — with an aim to further propagate the stereotypes surrounding the middle class. The revolutionary spirit that was much required was missing in the film. Everything was mostly conveyed through dialogues.
A film should be able to let the audience take sides. The conflict is created in such a manner that one perhaps cannot pick a side.
The makers have also used a cliched and typical narrative. For example, somehow the brother crashes into a car and dies only after telling his friend to take good care of his sister. Suri’s backstory fails to make sense. It looks like a feeble attempt to evoke a motherly sentiment. A formula that has long been used and rusted.