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Friendship is in the air...

First things first. Snehithudu is a faithful adoption of Three Idiots. Whether you like it or not, it's almost a scene by scene retooling of the Aamir Khan starrer, with Shankar's touches here and there. As a result, the film takes you on a roller-coaster ride of various emotions. The end-product, which is the Telugu dubbed version of the Tamil remake of Bollywood hit Three Idiots, is finally here to give the audience a totally different experience.

 

The very genre itself is new to the movie-buffs here. However, what starts on an alien note becomes close to the heart as things proceed, aptly reflecting the title.

 

The movie throws light on the loopholes in Indian education system and provides a solution or two to set things right. All ingredients presented in a neat and colourful package, Snehitudu emerges a collage of beautiful things, which makes us to tell 'All is well at least to an extent'.

 

Paani (Vijay), Venkat (Srikanth) and Nikhil (Jiiva) are college mates. While the whole college has no other option than to follow the words of dean Virus (Sathyaraj), these three guys follow their own set of rules. Paani an intelligent guy that he is, doesn't go behind books. He wants to pursue studies as an enjoyable experience. His two friends follow him. As a result, Paani, Venkat and Nikhil earn the wrath of Virus, who at one point of time even tries to throw them out of college.

 

But things change and everyone including the dean understand the noble heart and intentions of Paani. Virus's daughter Riya (Ileana D'Cruz) falls for Paani. When everyone think that all is well, Paani suddenly vanishes from the scene.

 

Where is he? No one knows his whereabouts. Venkat and Nikhil, one fine day, get some clue about Paani and they start a journey in search of him. What follows is a story of so many interesting twists, turns and message.

 

Vijay is super cool. His performance in this film is a treat to watch. Equally good are Srikanth and Jiiva. Ileana D'Cruz doesn't have a meaty role to perform, while Sathyaraj, Sathyan, Anuya, S J Suryah and others do a decent job.

 

Manoj Paramahamsa's camera work is a notch higher than Ye Maya Chesave, while Harris Jayaraj's music is a step lower than his last film Seventh Sense. Need we say about the film's technical extravaganza since Shankar is at the helm of affairs?

 

Shankar, while faithfully going by the original version, has tried his best to attract the southern audience. And he succeeds in his attempt to a major extent, we have to say, though those who are used to Shankar kind of movies might feel little disappointed. 

 
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