Kannada cinema fans have cherished the timeless gems, Mata and Eddelu Manjunatha, for years. Spearheaded by actor Jaggesh and director Guruprasad, these acclaimed classics had set the bar high, kindling anticipation for their latest collaboration, Ranganayaka, after a 15-year hiatus. Expectations soared, hoping for a continuation of the enchantment witnessed in their earlier works.
Prior to the film’s release, Guruprasad often proclaimed himself as a frustrated viewer. This approach seemed to have raised expectations and left some viewers wanting more from Ranganayaka. Guruprasad steps into the limelight, portraying himself as a director under the scrutiny of a TV show chasing high ratings. In parallel, another narrative unfolds, where Jaggesh takes the center stage as a prince-in-training, alongside his beloved (Rachitha Mahalakshmi).
From the opening sequences to the intermission, it seems Guruprasad has dominated the first half more than Jaggesh. Venting his personal frustrations, anger, and critics, the director channels his emotions onto the screen, albeit somewhat chaotically. Plunged into hypnosis, director Guruprasad journeys into his past life, unveiling connections stretching back a century, when he ventured into filmmaking in 1911. Here, Ranganayaka (Jaggesh) emerges as the hero in this tale. In between, the film delves into the critic faced by Kannada cinema, interwoven with Guruprasad’s focus on the embellishments of this story.
The director here has attempted to construct a narrative solely through conversations and dialogues, poured in merely for the sake of it. However, he has neglected proper introduction, storyline, or execution. At times, Guruprasad even inserts the names of a few Kannada heroines, which seems unnecessary and irrelevant to the narrative.
Jaggesh’s attempt to salvage the film with his performance is hindered by outdated mannerisms and dialogue. Without a strong storyline, the film lacks substance, making it challenging to appeal to the audience. In the initial half, Jaggesh’s role as Ranganayaka feels confined to a couple of songs and scenes, and viewers are initially drawn in by the actor’s comic timing and expressions, the latter half sees a more solid grounding of the narrative.
Rachita Mahalakshmi’s role primarily revolves around romantic duets, leaving her with little else to do. On the other hand, supporting actors Chaithra Kotoor, Shatamarshan Avinash, Shobha Raghavendra, and Yogaraj Bhat as psychologist, among others are given broader scopes. Guruprasad’s storytelling is complemented by Anoop Seelin’s background score, providing an enjoyable backdrop.
Songs like Gaali Tangali.. and Enna Manadarasi.. provide a delightful retro touch, enhancing the overall experience. However, Guruprasad’s tendency to overload the screen with unnecessary elements for a small subject may frustrate and disappoint both the character Ranganayaka and the viewer.
While Ranganayaka may not soar as high as its predecessors, it still delivers enough entertainment for viewers to relish, albeit tinged with a hint of disappointment.
Ranganayaka
Cast: Jaggesh, Guruprasad, Rachitha Mahalakshmi, and Chaithra Kotoor
Director: Guruprasad
Rating: 2.5/5