Raja Rajendra is Pon Kumar’s second film with Sharan after Srimathi Jayalalitha. While it is no masterpiece from the director’s end, there are elements that make it stand out as a Sharan film.
The film manages to combine slapstick comedy with an adequate range of situations and characters as well as create a wholesome family drama. There are places where it tries to engage with emotions and create a sense of empathy as well as connections.
The plot revolves around Sharan, a middle-class youth who has just been released from jail and claims that he is Bottle Mani, a con artist. He makes his way into the mansion of the wealthy Neelakanta (Ramakrishna) under the assumed identity of Veera Raja Rajendra at the behest of the Neelakanta’s three sons-in-law who have taken out a supari to kill their father-in-law in order to get his money.
There is all-round mayhem as Neelakanta is made to believe that Raja Rajendra is his grandson and takes utmost care of him. At the same time Sharan finds a love interest in Swati (Ishita Dutta), one of Neelakanta’s granddaughters. However, she is attracted to his guise as Raja Rajendra.
The twist in the tale comes when Ravi Shankar, the actual Bottle Mani comes out of Jail and also lands up at this mansion. The mystery revolves around who the real Bottle Mani is.
On the other hand, circumstances and situations lead Sharan on a journey to try and trace his past and discover that he is the real Raja Rajendra. It is the hows and whys of this mystery that keep the audience interested till the fairly predictable ending.
Within the various set pieces, one will find very few situations that are worth a laugh. With a star like Sharan in the picture, Pon Kumar does not pack much of a punch or add any verve to the screenplay. It is the last 25 minutes that lifts the film to hysterical heights even though it is slapstick and situational.
Unlike Sharan’s earlier films, which are full of humour, Raja Rajendra is less entertaining. Perhaps it is because Pon Kumar has concentrated too much on the family drama aspect of the film, which ends up becoming a compromise as it loses its comic pace.
Sharan who has evolved from being a comedian to an actor of substance has managed to excel in romance, action, comedy in the film. He is an authentic local delight among the current crop of Kannada stars and every role seems to be a cakewalk whether it is that of a street-smart thug like Bottle Mani or a more regal turn as Raja Rajendra. Pon Kumar’s intention of making Sharan popular with the masses is meticulously executed by the hero. The role of the king who wants to win people not by violence, but through his good-nature, becomes quite insignificant. Ishita Dutta gives a good debut appearance. The director has also cast a host of good artistes like Suchendra Prasad, Ramakrishna, Tabla Nani, Kuri Pratap among others. Vimala Raman features in a blink-and-miss role. However, Pon Kumar fails to utilise Ravi Shankar’s talent and the actor should have definitely been given more screen-time.
Panner Selvam’s cinematography is nothing to write home about as is Arjun Janya’s music which is not as peppy as in Sharan’s previous films.
Raja Rajendra, a film designed for a comedy dhamaka is combined with a family drama. Though the film comes with an elongated end, it will still send you home with a grin.
