Ginna review: This formulaic entertainer has its limitations but mostly delivers bang for your buck

2.5/5

Story:

Gaali Nageswara Rao a.k.a Ginna, Swathi and Renuka are childhood friends in Rangampeta. Given Renuka is a mute girl, Ginna comes to her rescue whenever she requires help. Few unfortunate circumstances force Renuka and her father to leave for the US. Many years later, Ginna runs a tent house business for a living and is in heavy debt. A money lender asks him to either return his money in a month or marry his daughter. His crisis coincides with Renuka’s return to Rangampeta. Will Ginna’s fortunes change with her arrival?

Review:

Going by trends, one may feel Telugu cinema has moved beyond the era of mindless comic capers in recent years but Ginna is a gentle reminder that the genre is here to stay. All that this brand of comedies needs is some repackaging in tune with the times (in terms of treatment and tone) and a decent bunch of actors who could bring the writing alive onto the screen. Ginna, despite its mindlessness, is a film made with conviction to entertain the average viewer.

The film doesn’t take itself too seriously and bears the stamp of its writer Kona Venkat in every sequence. The result is a surprisingly engaging fare. The protagonist may get a larger-than-life introduction sequence, but he’s ultimately a small-time tent house supplier with debts and his presence, in any auspicious event, is considered a bad omen. He fools around with a bunch of friends and doesn’t have any ethical/moral centre. He’ll do anything and everything that it takes to ensure his survival.

Ginna doesn’t mind stealing his grandmother’s earrings and bangles while giving her sleeping tablets. It’s weirdly comforting to see a role with no pretension. All that Ginna seeks is a few petty joys in a sleepy village and a future with the love of his life. When his childhood friend returns to her hometown, he views her as a cash cow to clear his debts but destiny has other ideas.

The eccentricity of the characters, their gags and the exaggeration don’t go overboard - director Eashaan Suryaah has learnt some important lessons from his master (Srinu Vaitla). Barring the overly sexualised characterisation of Sunny Leone’s role (no surprises there), Ginna offers genuine laughs after establishing the premise in the first 30 minutes.

The scenarios are outrageously funny and the makers find a way to further the plot while ensuring the staple ingredients of the genre - songs, comedy, romance and action. Dead bodies being hidden in a fridge, a perverted translator hitting on a mute woman, a childhood friend suspecting the true motive of the protagonists and a fake marriage plan to make money - the narrative never falls short of inane ideas and has interesting twists to keep the viewer enthused and amused.

Ginna works because it’s made by a team that truly understands the joy of escapism in cinema. The biggest surprise of the film is its efficient use of its femme fatale character. The music may serve as a speed-breaker and isn’t the standard you expect from Anup Rubens, who’s too experienced to deliver such mediocre numbers. Like most recent films, Ginna ends with a hint of a sequel soon and going by the climax, it isn’t a bad idea at all.

The decision to get Eeshaan Suryaah, a former protege of Srinu Vaitla to direct a script with inputs from experienced hands like Kona Venkat and G Nageswara Reddy, has worked for Vishnu Manchu this time. Vishnu Manchu has his limitations as an actor but is surrounded by a capable cast who fit the bill in this genre. While Payal Rajput delivers what’s expected of her in a staple heroine role, the decision to rope in Sunny Leone ensures that key twists in the film land well despite her dubbing woes.

Chammak Chandra, Naresh, Raghu Babu, Annapurnamma and Vennela Kishore prove to be a handful in the slapstick comedy space - it’s a walk in the park for them but it’s fulfilling to see their experience being utilised well after a long gap. The Chittoor slang works wonders with the dialogues again and Vishnu’s self-referencing one-liners like ‘Nuvvu nannu troll chey, enjoy chesta..maa valla joliki vasthe peechu teesta’ are even enjoyable in this madcap universe.

Verdict:

Watch Ginna with an open mind; chances are that you’ll return home reasonably satisfied as a viewer. Of course, nothing about the film is subtle and this isn't high-quality art. It’s not a bad time to make way for ‘keep your brains outside the cinema hall’ genre again in Telugu. Kona Venkat’s wacky script and Eeshaan Suryaah’s focused execution ensure Ginna doesn’t miss the bus.