Title: Anireekshita Athithigalu, Producer: Tenvin Productions – B. Vinod Kumar, Writer & Director: Manoj Annaiah, Cinematography & Editing: Eric VJ, Music Director: Swamynathan RK, Cast: Vivek Simha, Mythri Jaggi, Samprathi Alva, Harita Shah, Shri Datta, Daivik, Daya Pallavagere, Shailender Singh, Nagaraj Sirsi, Sunil Kulkarni, Gokul Chakravarthy, Abhay SR, Sumukha N, Abhishek Leela Komaladhariah and others.
Hitting a sixer right from the first ball has become the fashion of Abhishek Sharma and Vaibhav Suryavanshi. Similarly, in cinema, hitting the audience with a strong opening has become the call of the day.
There is nothing wrong with attempting a content-oriented film that keeps the cash register ringing. But in the name of delivering hard-hitting content, some films cross the line and end up testing the patience of the audience. Anireekshita Athithigalu unfortunately falls into that category.
The film has an inherently disturbing subject, with kidnapping and sexual violence forming the core of the story. While the substance has some potential, the first half suffers from a repetitive narrative pattern. The second half moves further into violence and revenge, but several sequences lack the realistic treatment that such a serious subject demands.
How long can Indian cinema continue to rely on repeated and excessively violent blows simply to establish the brutality of its central characters? It may be intended as a glorification of their menace, but today’s audience increasingly expects believability and realism, particularly when a film deals with sensitive subjects.
Director Manoj Annaiah gives the film a rustic atmosphere and has attempted to create a raw world around his characters. However, at 162 minutes, the film clearly needed tighter editing. The director’s editing instincts seem to have taken a back seat.
There are moments where subtlety could have made the impact considerably stronger. For instance, one particular sequence — showing a character casually preparing and chewing betel leaves — could have been used to imply the horrific incident taking place off-screen. Such treatment would have been far more effective than explicitly depicting a gang rape involving four men and one woman.
Similarly, the romantic portions involving Mythri Jaggi and Samprathi Alva could have expressed love, affection and intimacy with greater restraint. The extended kissing sequences do little to add depth to their relationship.
Perhaps the director’s intention is to expose the depraved mindset of the perpetrators and ultimately present a theory of punishment. The film certainly wants the audience to understand the darkness of such behavior before delivering its final response.
The story revolves around four men — Shakthi, Robin, Chiru and Vibhu — who travel in a jeep with Tashvi to an estate house. Their intention is anything but innocent. They target Tashvi, and it soon becomes clear that this is not the first time they have committed such heinous acts.
Elsewhere, Chakri and Girija, a pair of village lovers, arrive at the same guest house hoping to spend some private time together. They soon notice the sinister intentions of the four men.
Realizing that Tashvi is in danger, Chakri and Girija take the risk of intervening and attempt to save her from their clutches. They manage to help her, but their actions put them directly in the path of the dangerous gang.
The second half opens with the four men seeking revenge against Chakri and Girija. Matters become even more complicated when Ravi, Shakthi’s brother, arrives. The guest house belongs to him, and his arrival adds another layer to the already chaotic situation.
What follows is a series of confrontations, violence and revenge, forming the remaining portion of the film.
As the anti-hero, Vivek Simha delivers a powerful performance. Already a proven actor, he completely surrenders himself to the character. His body language, expressions and aggressive mannerisms are genuinely unsettling and, at times, blood-curdling.
Mythri Jaggi, in another central role, gives a promising performance and demonstrates good screen presence.
Samprathi Alva, making her debut, is bold in her romantic scenes with Mythri Jaggi and handles the demands of the role with confidence.
Shri Datta, Daivik and Daya Pallavagere, also making their debuts, appear to have delivered exactly what the director demanded from them. Their performances fit the raw and aggressive tone of the film.
The background score is rather harsh, matching the film’s violent atmosphere but occasionally becoming overwhelming. There are no songs that particularly stay in the memory after the film ends.
Anireekshita Athithigalu is a film that disturbs the mind with its subject and treatment. At the same time, the director attempts to soften that disturbing experience through his eventual punishment-oriented approach.
The film undoubtedly has the intention to say something about the darker side of society. But with a more restrained treatment, tighter editing and greater realism, the same message could have created a much stronger impact.
