Shyam Singha Roy movie review: The film’s period scenes are a sight to behold. Nani and Sai Pallavi’s throwback style is endearing. Pallavi’s traditional dance performance, which she wears in a crimson saree, is breathtaking.
One lifetime is insufficient to fulfil some pledges. Nani’s latest film, Shyam Singha Roy, has this as one of its themes. Vasu (Nani) is an ambitious filmmaker who resigned a well-paying software job to pursue his dream of becoming a filmmaker. To secure money for his project, he must first show his talent to a potential producer by creating a short film.
Vasu’s short film hasn’t gotten off the ground yet since he hasn’t found the perfect actor to play his female lead. He meets Keerthy (Krithi Shetty), who is not an actor, as if on cue. She’s just hanging out in a coffee shop with her friends. Vasu, on the other hand, recognizes his heroine in her and begins to persuade her. He’s the type who refuses to accept no for an answer. He even follows her everywhere. And, before things get too strange and criminal, Keerthy agrees to star in his film. It’s more like he blackmailed her into signing the contract.
Keerthy is harassed in public during the production. Vasu, of course, fights the thugs. He is also injured in the back of the head during the struggle, and he becomes left-handed. This appears to be a turning point in the plot, as the strike to the head appears to have triggered memories of his prior existence. However, we find out later that this is not the case. For a long time, he has been reliving his prior life’s memories. It’s the first time we see the other man who has taken up residence in Vasu’s mind.
Keerthy is also earning her master’s degree in psychology, which means she has access to a well-dressed psychology professor who is well-versed in hypnosis. It’s tough to comprehend why in our films, characters with multiple personality disorder are usually in a relationship with a psychology student. In Anniyan, do you recall Ambi and his girl crush Nandini? You see what I’m getting at. Why is it that Keerthy is unable to pursue a degree in English literature? Or is it an other topic? Why does everything have to be psychology all of the time? She may have brought Vasu to a psychologist even if she wasn’t a psychology student.
Vasu, like Ambi, is mesmerised, and we follow him into the chapters of his mind where Shyam Singha Roy’s storey is told. The film takes place in Bengal in the late 1960s, during a time when untouchability and caste discrimination were at their height. It’s not like it’s gone away, but social reformers like Shyam may have thought that by 2021, people wouldn’t be so attached to their caste identities. Regrettably, the majority of us continue to do so.
Shyam is a devout communist who believes that when it comes to preaching one’s philosophy, a pen is mightier than a rifle. He sees Mythiri (a magnificent Sai Pallavi), a Devadasi, just as he is about to board his train to Howrah. Another sort of exploitation and enslavement depicted in the film.
The film’s principal opponent is not a man, but socioeconomic inequity, which serves as the breeding ground for many social and humanitarian issues. Honor killings, for example, occur when some people believe they are more special and sacred than others. This societal blight is rooted in inequity. Because some men believe they are second only to god, even women who are said to be close to divinity are sexually exploited. As a result, Shyam’s adversary is neither the megalomaniac godman nor the villagers who believe in the caste system. However, it is ideology that causes inequity. And, as they say, ideas are indestructible. And the only way to combat negative notions is to educate people and instil self-respect.
Instead of resorting to violence, the film’s hero lives and battles through the pen, thanks to director-writer Rahul Sankrityan. The film’s period sections are a feast for the eyes. Nani and Sai Pallavi’s throwback style is endearing. Pallavi’s traditional dance performance, which she wears in a crimson saree, is breathtaking. Her mere presence on screen raises a scenario to new heights. The historical set pieces are sparse, but they work well. The night photos under the moonlight are also relaxing.
The film’s handling of the problem of honour killing astonished me. When we hear those words in a movie, we usually think of a woman as the victim. However, we rarely think of a man succumbing to this wickedness. Also noteworthy is Rahul’s brave decision to include a large number of Bengali dialogues in the film. The Telugu subtitles display when characters speak Bengali. If you don’t speak Telugu, there are enough clues on the screen to keep you up to date on the plot.