Pakka Commercial Movie Review : Gopichand and Raashi shine in this wending comedy.
Maruthi is a director who has his own style of filmmaking that works some of the time and doesn’t at other times. Pakka Commercial starts out as a self-aware comedy, straddling the line between treating something serious yet keeping it lighthearted. The actors seem to enjoy playing their roles, which they deliver with bumbling lines. The problem is that they appear to be having more fun than you are.
Suryanarayana (Sathyaraj) is a judge that anyone would want to have, even though his hands are bound by the law, he’s empathetic to the people in his court. He retires after an unfortunate event takes him far from anything having to do with the legal system. His son Lucky (Gopichand) donned the black coat and returned to the same location where his father had vowed never to return. While his father thinks he’s a charitable lawyer who will fight for the injured, Lucky will only fight for those who give him the most money—whether it be in cash or kind. When a business magnate Vivek (Rao Ramesh) enters the picture, the former judge returns to court to confront his son.
Director: Maruthi Dasari
Writer: Maruthi Dasari
Stars: Gopichand, Raashi Khanna, Sathyaraj
Raashi Khanna also appears in this film as Jhansi, a famous TV actress who is well-known for playing a lawyer on the screen. She studied law to prepare for her role and was understandably distressed when she was laid off due to financial constraints in favor of Covid-19. This isn’t one of those few films that acknowledges the coronavirus pandemic but does little with it beyond silly moments or dialogues, which is unfortunate. Maruthi’s comedy is cringe-worthy, to say the least. There are several jokes that don’t land as intended due to a lack of subtlety. Every character, including Raashi and Rao Ramesh, is meant to be a caricature, but Maruthi goes too far with it.
The film’s opening sequence appears to promise something substantial, but it just meanders from one thing to the next, alternating between a song, a dance, a fight, a few jokes, and punch dialogues before exiting through the same door. There is no rhyme or reason to the film’s progress, you wonder if there was an intelligible script in existence at any point. The film is self-aware at several points, with one example being a conversation about how to shoot a suicide scene. Some of the dialogues are even self-reflexive in nature, almost mirroring the audience’s thoughts, but this only serves to make it more enjoyable in parts. Even if the movie attempts to disguise it for you, you can see the conclusion coming from far away. The dialogue between Gopichand and his fans is one of the film’s weaker aspects. The line “You’d be surprised at how many people reach out to me, who have made it big in their lives” does not work, for example. Same goes for a conversation between Gopichand and his followers about his massive fan base. What doesn’t work is how Lucky’s character arc is “redeemed” and how Jhansi merely steps in and out of situations, filling space as needed. Jakes Bejoy’s music isn’t particularly interesting except for Lehenga Lo Lady Donu, which just happens to be placed rather strangely.
Gopichand, Raashi, Sathyaraj, and Rao Ramesh are the only reason Pallak Commercial succeeds. Despite flaws, they appear to give their characters their all. Gopichand stands out in both comedic and action sequences while Raashi adds energy to a self-absorbed TV actress. Despite the faults, Maruthi does attempt to provide some newness into the narrative. The method in which Sathyaraj’s character has a dream sequence or how Raashi’s character believes certain things should be said through a duet are just two examples of this. Unfortunately, they aren’t enough for the film to work as a whole.
Pakka Commercial isn’t Maruthi’s finest effort, but it is a decent film. However, if you adore him or the leads, give the movie a chance. Don’t expect too much, just don’t be disappointed.