Tamil movies are fun to watch provided one is prepared to tolerate that avalanche of emotions and action that threaten to deluge at some point in the story. Samuthirakani begins his story interestingly, Sangharshana is fast-paced initially about two men who seek refuge at a friend's home and slowly invite the attention of all the neighbours. The intention of the filmmaker is very clear here, he shows his characters are devoid of malice, simple and good-hearted people who earn their morsel only through scruples.
Any person who is positive, loves and believes in the dignity of labour and doesn't lose the motivation to work will soon make a decent living and both friends played by Sasikumar and Allari Naresh prove it by banking on their intelligence and are on the threshold of settling down in life. The big turn in the story takes place here just when things appear rosy. The first half of the film shows the insight and sensitivity of society to struggling people but the later half the director brings in a serious plot; the history of both the friends unfold and they are shown as fleeing from a mental asylum to settling down in the city with the friend as ordinary people.
The story then on becomes heavy and an artistic indulgence and the movie becomes a spectacle for people who think. The film is obviously and clearly partial to Sasikumar though Allari Naresh holds his own, looks quite comfortable in fact surprisingly far more at home in Samuthirakani's direction. The rapport that both the actors share is carried on from their previous body of work Sambho Siva Sambho.
The character sketch by the director is so transparent that a few dialogues aren't needed at all; For instance Swathi is shown as an aggressive woman screaming and keeping men at bay and when the hero learns that she is an orphan he concludes the reason for her brash behavior as a defensive attitude. The strength of Sangharshana is the filmmaker's eye for detail and a meticulous narrative but it is doubtful if the Telugu audience will spend time watching and understanding human psyche in the latter part of the story.
Swathi is given the same child woman role again but it is a breather to see her minus the oiled hair and plaited look. Sasikumar brings in honesty to his role but the complexity after a point forces one to seek the exit door.
Any person who is positive, loves and believes in the dignity of labour and doesn't lose the motivation to work will soon make a decent living and both friends played by Sasikumar and Allari Naresh prove it by banking on their intelligence and are on the threshold of settling down in life. The big turn in the story takes place here just when things appear rosy. The first half of the film shows the insight and sensitivity of society to struggling people but the later half the director brings in a serious plot; the history of both the friends unfold and they are shown as fleeing from a mental asylum to settling down in the city with the friend as ordinary people.
The story then on becomes heavy and an artistic indulgence and the movie becomes a spectacle for people who think. The film is obviously and clearly partial to Sasikumar though Allari Naresh holds his own, looks quite comfortable in fact surprisingly far more at home in Samuthirakani's direction. The rapport that both the actors share is carried on from their previous body of work Sambho Siva Sambho.
The character sketch by the director is so transparent that a few dialogues aren't needed at all; For instance Swathi is shown as an aggressive woman screaming and keeping men at bay and when the hero learns that she is an orphan he concludes the reason for her brash behavior as a defensive attitude. The strength of Sangharshana is the filmmaker's eye for detail and a meticulous narrative but it is doubtful if the Telugu audience will spend time watching and understanding human psyche in the latter part of the story.
Swathi is given the same child woman role again but it is a breather to see her minus the oiled hair and plaited look. Sasikumar brings in honesty to his role but the complexity after a point forces one to seek the exit door.
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