The silver screen shines again with director Suni’s latest offering, “Ondu Sarala Prema Kathe,” arriving a full decade after his successful debut with “Simple Agi Ondh Love Story” in 2014, which featured Rakshit Shetty in the lead role. Fans may have felt a sense of déjà vu upon hearing the title of this new project, a wink and a nod to Suni’s first venture that one social media user wittingly observed is but a rephrasing of the original hit. This inclination towards such creative whimsy underscores Suni’s cinematic voyage, echoing his belief that there is an appetite for this brand of storytelling. Nevertheless, the wavering fortunes of his recent films may suggest otherwise.
The film embarks on a hopeful journey, deceptively masking the tumult it will later encounter. Suni’s proficiency lies in his character development, and he demonstrates it early on. We meet Atishay, played by Vinay Rajkumar, a passionate music composer and Anuraga, portrayed by Swathishta Krishnan, a tenacious television journalist with an eye for exposing political corruption. The pair, though childhood acquaintances, are frequently at odds with each other, setting the stage for a turbulent rapport.
“Suni treats the world of music and musicians with the respect they so richly deserve. Composer Sadhu Kokila plays a version of himself, steering clear of the undignified slapstick humor so pervasive in other Kannada features. The film’s soundscape, crafted by Veer Samarth, elegantly underscores the shifting moods as our narrative takes us from the vibrant streets of Mumbai to the windswept dunes of Jaisalmer. Singer Malika Singh steps into the role of the third vertex in this love triangle, and her portrayal gains authenticity through her natural use of English and Hindi.
However, the film’s narrative thread begins to fray in the latter half. Abrupt scene switches and lackluster sequences indicate that Suni, as a screenwriter, may have lost his narrative compass. Superficial conflicts introduced at every twist and turn do little to keep us anchored. Added to this is the uninspired performances by the lead actors, notwithstanding their inherent charm, which seems well-suited to the film’s unpretentious vibe.
The fundamental flaw of “Ondu Sarala Prema Kathe” is the director’s aspiration to inject intelligence into the film where simple, yet emotionally engaging characters would have sufficed. The overreliance on improbable coincidence undermines the solid grounding of the storyline. To draw parallels with the Bollywood hit “Jab We Met,” which also depicted polar-opposite characters in a whirlwind setting, what was necessary was the cultivation of compelling, engaging onscreen chemistry, rather than a disjointed script desperately needing connective tissue.
Despite these criticisms, Suni manages to salvage the project to some extent with his characteristic humorous zingers and his command over situational humor that offers reprieve from the tedium. The film’s only real spark of life ignites in its final act, precisely when the focus pivots back to music, underscoring the missed opportunity for a singular, potent source of conflict.
A modest resurgence in form for Suni, the impact of “Ondu Sarala Prema Kathe” is felt only by the meager standards set by his previous, less impressive endeavors like “Avatara Purusha,” “Sakath,” and “Bazar.” Regardless, the film is in cinemas currently, perhaps to satiate those hungry for a Kannada cinema experience, albeit one that may leave many craving a more robust and cohesive cinematic feast.
