Oka laila kosam old song karaoke
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Verdict: All in all, OLK is a film where Chai shows flashes of good talent once again after Manam. There are attempts to make the otherwise routine proceedings look different but all such attempts end up revealing the film's paper-thin story, much against the grain. Pooja delivers a restrained performance all throughout. Chai shines in such scenes and they are evidence that he is maturing as an actor. Ali, Vennela Kishore, Sathyam Rajesh and others are seen in forgettable roles.Īt times there come some scenes that lend the much-needed emotional quotient. Chai's improvement shows itself in all of the songs and Pooja's gorgeous looks add to the grace of each song.Ī bevy of comedians struggle to make us laugh.
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The songs are picturized well and given the weakness of the script, they are well conceived. Of course, he does visually and metaphorically display his love for her but the fundamental vacuity persists in the audience's mind all through.Ĭoming from a big banner, OLK boasts of excellent cinematography. It is inconceivable why such a boy shouldn't be able to convince her of his honesty and decency with so much of human resources and his own artistic brain at his disposal. In a normal world, a normal girl shouldn't find much difficulty talking to a boy from an extra-respectable family the reason why she finds it hard to accept him. Sayaji Shinde as her father gets to play yet another routine role, even as Suman as Chai's father doesn't make an impact. Nandhini is caught in a quandary as her father's liking for Karthik makes the things all the more difficult. Karthik and Nandhini come from lovely families and they can't do anything that causes trauma to their respective elders. The film goes on and on till the day she discovers the diary (err. Nandhini (Pooja Hegde) is she who hates flirts so much so she doesn't even clearly say why she hates a flirt when a known flirt (real or presumed) and his family tell her "I (We) love you". Finally, there is one funny maternal uncle (played by Ali) who comes with a frivolous past and who now wants to play the spoilsport in his love life to no meaningful filmi effect. Karthik (Naga Chaitanya) is he who loves the very word Freedom for the first few minutes (so that there can be had a song on freedom), then starts loving exclusively the Laila of his life, albeit his less-than-normal attempts to catch her (two times, he seems to lose her out because he is not willing to run much) look contrived so as to make it possible to have a remix song reminding us of SPB but not ANR. Add to the already cathartic beginning, there come force-fitted action sequences that are mercifully trimmed and hackneyed subplots that are too brief to make any impression - good or bad. It's not that it has a wafer-thin storyline that invites us to write it off prematurely but what makes the film go for a toss is the fact that the very premise is revealing of what is in store (or what is NOT in store). Not many films throw up the glaring hint of an imminent Hudhud during the first leg itself as does Vijaykumar Konda's 'Oka Laila Kosam'.