Story: Ghana (Naga Shaurya) returns to India for the wedding of his sister Priya (Sargun Kaur Luthra). But when she tries to commit suicide, she finds out that she is pregnant but doesn’t know-how. The way he finds the man who did this to his sister and countless other girls makes up the story.
Criticism: Ramana Teja’s first film is ambitious because Aswathama wants to tell the story not only of a frustrated man who tries to track down a psychopath but because it also takes time to establish the depravity of those who do bad deeds. The film may not spend as much time on the antagonist than on the protagonist, falling into no man’s land between exploring its full potential and revealing the antagonist too early, but Aswathama manages to succeed history despite the obstacles. You will always see the brutality of the procedure, especially if you are a fan of the genre, but it is a good attempt.
Gana (Naga Shaurya) has been in love with her sister Priya (Sargun Kaur Luthra) since her birth. She comes to India because she is engaged to Ravi (Prince Cecil) and just when she thinks that everything is going well, Doris, she is likely to try to kill herself. Shocked but understanding, Gana tells him that he will help her in any case and she tells him that she is pregnant. The problem is that he doesn’t know how to do it and that the scene is ready for the mad search for a brother who will get his sister the answer he deserves and desires. Also in this tale, there are four fishermen, an old man, a psychopath and his constant companion – the motley crew that harms girls who have stories similar to Priya.
The way Ramana Teja connects the points that trace the landscape of the picturesque Vizag and its bleak alleys of Jalaripeta is commendable. What is not is the time that elapses in the first half before it reaches the point. The whole piece between Gana and his girlfriend Neha (Mehreen Pirzada) does not work and only seems to exist in history as the third wheel for the brother-sister duo, someone he can scream at when he is frustrated and ask for help when necessary since certainly, he doesn’t think he can share his secret with her. Sri Charan Pakala’s duo and a number of marriages are wasted in the midst of the crisis and the film only shines when it comes to the current problem.
Naga Shaurya does a good job when it comes to representing emotions for any reason. His grief and confusion in the key scenes certainly don’t show up. His frustration and anger work well for action scenes that work for the most part. Mehreen Pirzada is pretty good but wasted on a role that gives her a limited reach. Sargun is also doing well. Jisshu Sengupta as a forensic psychologist plays the role quite well. Ramana Teja, on paper, seems to want to show how her character has slowly but surely collapsed where she is today, but while she dares to show the extent of her character’s depravity on the screen, the way she rushes through it leaves never that the seriousness of his evil Ankith Koyya does a good job as a young Dr. Manoj Kumar, showing the beginning of autumn well.
Whatever inconsistencies you hear in the film, most of the time they are summarized in the shadows, but the configuration in the first half of the film and the way revelation occurs in the second half seem disjointed. Ghibran’s BGM works although it’s not the best, it does its job. The editing of Garry BH is irregular in some parts and the work with Manoj Reddy’s camera is correct. The way Gana eventually resets Dr. Manoj as guilty is natural and based on pure luck, but the reasoning may not work for everyone. The precipitated highlighting is equally correct.
Aswathama keeps its promises: a captivating story and lots of action. Ramana Teja makes a good start by staying true to the subject without too many deviations. If you are a fan of hard-core thrillers, you may still be disappointed in some parts because you don’t work as hard as you should, but the film is still a decent weekend watch. Blood and depravity mean, however, that it is certainly not for the faint-hearted.