Once a Vaitla film meant there was a natural and spot-on mix of comedy and entertainment that dominated, despite occasional sentiment and engaging action sequences. But here, it felt like the director wanted to brainwash us with his entertaining skills, which had no real impact. It’s neither laughable nor irritating, just boring, like watching a serial.
Coming to the love story, if you take Samantha from Dookudu or Kajal Aggarwal from Baadshah, their love stories were entertaining because the interaction scenes brought out cuteness from these actresses. Here, however, Kavya’s role was only about glamour, which went overboard. We can only be intrigued if the scenes are promising, otherwise, we might as well stick to Instagram reels or photoshoots for glamour.
Anisha Ambrose’s song appears out of nowhere, where the director tries to hit us with some sentiment. But after all the tiresome entertainment, it feels misplaced and demotivating.
Moreover, the interval action sequence set in an undisclosed location in Goa seemed like it was just meant to spend the producer’s money and satisfy the director’s grandeur, but there was no real impact.
On the whole, apart from occasional humor in bits and pieces, there’s nothing impressive. Hopefully, the latter half brings some fun.
There are numerous artists who are present to provide entertainment; however, none of them managed to make an impact due to the poorly executed characters by the director. Despite the heavy cast, only Vennela Kishore provides occasional entertainment, particularly in the much-hyped train episode, which ultimately feels like forced comedy that distracts from the main plot, seemingly added just to extend the runtime.
Viswam’s usual serious backdrop works fine, but for the first time, the director has made intense scenes feel more relieving than comedic, which should be the other way around in commercially-driven films.
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The film follows a routine commercial plot, where entertainment takes center stage. However, that same focus on entertainment becomes the film’s downfall, as it quickly turns irritating. The sentiment scenes feel boring, while the serious moments, though handled in a typical way, offer some relief from the otherwise unimpressive comedy tracks.
Viswam’s role as a commando, despite its illogical aspects, is actually more engaging in that brief portion of the film than the overwhelming entertainment.
It’s time for Gopichand to step back from outdated subjects, as his continued use of them only serves to frustrate audiences. I had hoped Vaitla could be trusted this time around, especially after the headache that he has given through “Amar Akbar Anthony,” which was an unforgettable low point for Ravi Teja’s filmography. After taking a break, I expected some improvement, but it seems Vaitla is still stuck in a bygone era, and “Viswam” is proof of that.
