This fact notwithstanding, Srikanth is not your ordinary Bollywood biopic. And it rarely resorts to such obvious melodrama when laying out the protagonist’s achievements, which are so remarkable considering his visual impairment.
Tushar Hiranandani directs this film. He directed Saand Ki Aankh, a sports drama and Scam 2003, a web series: two excellent biographical works. It narrates the incredible true story of Indian industrialist Srikanth Bolla who rose from poverty to attend MIT in America and come back to India to establish an unprecedented type of business organization.
Srikanth is a classic rags to riches saga that is enriched enormously by the director’s refusal to employ the standard tropes of the genre. Thereby ensuring that its storytelling is simple and shipshape, for instance, cinematographer Pratham Mehta and editors Debasmita Mitra and Sanjay Sankla do their jobs perfectly without overshadowing the essence of the narrative.
The blind man experiences many odds than cannot be typically surmounted. These are discrimination on a large scale, miserable bullying as well as myopic education system which never gives room for differently able people opting for higher science studies even if they get required marks.
Apart from one loud opening scene that overdoes it with regards to creating tension coming along with immediate aftermaths when a blind boy was born into an undivided Andhra Pradesh village in Machilipatnam, Jagdeep Siddhu and Sumit Purohit’s screenplay avoids being too sentimental.
Even in those crucial courtroom scenes where Srikanth has to argue for his rights before a judge alongside his teacher Devika (Jy0thika) who always supports him including college principal and skeptical lawyer, respectively’, they do not undermine their moderate tonal quality yet strongly advocating equal opportunities for persons with deformities. Thus regrettably at times one such example being a terrifying scene early in the film where Srikanth’s father digs a hole, an action he repeats later under completely different circumstances the movie becomes too obvious when one would expect it to leave much to viewers’ imagination and interpretation.
Srikanth tells the remarkable story of a young man endowed with exceptional vision and tenacity but does not shy away from pointing to the delicate junctures in Srikanth Bolla’s life when he comes precariously close to letting his self-confidence turn into a degree of arrogance and success into streaks of insouciance.
This leads to frictions with some important people in his life such as Swathi (Alaya F), his girlfriend who is studying medicine, connected to him on social media before they meet at Massachusetts Institute of Technology (MIT) campus, where Srikanth goes on full scholarship.
In addition, the movie makes us identify weaknesses that might spoil his relationship with those who genuinely care about him while also presenting an interesting picture of a man who has focused his mind on achieving personal success and improving the lives of other disabled persons and underprivileged people.
In its music background srikanth uses Qayamat Se Qayamat song Papa kehte hai bada naam karega beta hamara aisa kaam karega but it does not give much attention to the boy’s father but rather a teaches who trains him how to overcome difficult situations.
For Srikanth, Devika is the anchor that gives him room to dream whereas Ravi (Sharad Kelkar), investor and friend is the man he believes in protagonist’s dream to own and run his business.
Srikanth doesn’t say sorry but thanks either. He has even delivered an entire soliloquy that acknowledges both; apart from addressing his supporters, he underscores how highly he thinks of himself. His constitution if often contradictory, which is understandable given that nothing has ever come easy to him.
Another important part of this movie takes place around A.P.J. Abdul Kalam, then President of India and his “Lead India” campaign that bolsters Srikanth’s resolve towards achieving what he wants more than anything else. However, when an opportunistic politician deals with him deceptively, it leaves the young man disillusioned and wiser about short cuts.
Seeing without eyes is how we tell the Srikanth story. This distinguishes him from everyone else because once said by him many times Main sirf sapna hi dekh sakta hoon (I can see only in my dreams). Dream big runs counter advice from Ravi who tries bringing back down to earth when Ravi becomes too realistic for Srikanth’s tastes.
But Srikanth was about action as well. He moves from Main sab kuch kar sakta hoon (I can do everything) to Main kuch bhi kar sakta hoon (I can do anything). The former is an assertion of intent; the latter has the ring of a warning. He becomes a more relatable character thanks to inner conflicts because they explain why his life is so difficult.
Rajkummar Rao plays Srikanth from about age 14 that is how old Bollant Industries founder was when he met President Abdul Kalam up until around his mid-20s. Clearly, this must not have been easy for him at all as an actor trying to play a teenager, but he gives such an authentic performance on all other scores: physical impairment, dialogue delivery and body language.
With Jyothika and Sharad Kelkar offering commendable supporting performances both are restrained perfectly in keeping with the ongoing gentle timbre of the drama.
Srikanth is a movie as heartwarming as any that should be seen by many people. It is more than just a story; it is an inspiring celebration of looking at life in new ways.
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