Srikanth Odela’s directorial debut Dasara tries to do many things in one go — it tells a story of good versus evil by using the Ramayana as an allegory, and then takes bromance and brawling to a whole new level to underpin a contemporary social reality. The result, though, is a stunning visual spectacle that channels Allu Arjun’s Pushpa look via a deglammed Nani and a tumultuous love story unfolding against the backdrop of caste politics in Andhra Pradesh (now Telangana) of the 1990s.
Set in a coal mining belt, Nani’s Dharani and Dheekshith Shetty’s Suri are childhood buddies in the village of Veerlapally where men are inseparable from their liquor bottles. Dharani turns from a reticent man to a street-smart, plucky guy every time he takes a swig. He is smitten by Vennela (Keerthy Suresh) but shies away from expressing it. And when he musters the courage for it, he learns that Suri also wants Vennela as a companion. Without a second thought, Dharani puts a lid on his feelings.
The duo spend time stealing coal from trains and drinking themselves to a stupor until things go north when a scuffle at the local bar snowballs into a political turf war along caste-based lines. Shivanna (Samuthirakani) and his son Nambi (Shine Tom Chacko) have been running the bar for years. Now with Dharani and Suri’s help, Shivanna’s elder brother Rajanna (Sai Kumar) challenges their power and emerges as a hero of the Dalits.
Having lost control of the turf, a vengeful Nambi targets Suri. This is compounded by the fact that Nambi too falls for Vennela and goes to extreme lengths to pursue her. And Vennela’s decision to marry Suri sets off a chain of events, leading Nambi to kill Suri in an act of gut-wrenching violence.
Dasara is laden with references to the Ramayana. Nambi’s obsession for Vennela mirrors Ravan’s desperate attempts to make Sita his queen. The climax becomes symbolic as Dharani kills Nambi during the festival of Dasara for all his wrongs.
Caught between two men who love her and unwanted attention from a third, Vennela comes across as a self-assured woman who can speak her mind when she wants to but, like Sita, doesn’t have much say in the scheme of things. Vennela morphs from a chirpy girl who teaches at an Anganwadi centre to a stoic woman whom Dharani marries after Suri’s death when she’s still in a state of shock, and Keerthy brings out the switch with finesse.
Nambi’s sudden change from a casteist political leader to a lovestruck man who can be violent to have his way feels a little jarring. It also comes much later on in the film after most of the runtime is spent on building Dharani and Suri’s friendship.
Nani and Dheekshith are the livewire of Dasara. Their bromance is like that of Jai and Veeru from Sholay or Ram and Bheem from RRR. Dheekshith charms with his roguish persona in the first half, and the spotlight is on Dharani only after Suri is bumped off right before intermission. Nani plays Dharani with a lot of heart — the expression on his face as he hides in a stable from a gang of assassins, stifling his cries, remains with you long after the scene ends.
Sathyan Sooryan’s cinematography uses a muted colour palette to bring to life the rustic lifestyle of Veerlapally. Every character has a hue that reflects their character. Dharani appears in frames that are grey or auburn. Vennela is always dressed in vibrant colours, while Nambi’s spotless white attire stands in stark contrast to the dark background. The action sequences — one before the interval and the grand climax — evoke shock and awe as the camerawork is able to heighten the sense of violence without making it revolting.
