Konda Polam as a story of "becoming" Rich plant life, a novel vernacular, groups of goats, and a downpour less land transport you to the universe this story is set in. Stories about growing up or country ones are not new to Telugu film. The film, nonetheless, figures out how to keep you snared because of the manner in which everything unfurls.
Ravindranath, otherwise known as Ravi (Vaisshnav Tej), is a young fellow who's knowledgeable, taught by his shepherd father, with the expectation that he gets an extravagant line of work in the city. Regardless of whether he goes to instructing meetings, Ravi finds it hard to break the meeting or gathering conversation round, regardless of what he does. His spine is by all accounts in a never-ending state of shudder, be it in a meeting room or back home in the town, where he's continually inquired as to why he doesn't have some work yet. Shipped off the timberland by his granddad (Kota Srinivasa Rao) for konda polam, Ravi needs to figure out how to relinquish his feelings of dread on the off chance that he's to get by. And, surprisingly, more significantly, assuming he needs to keep the many goats that rely upon him alive.
Krish makes a fabulous showing of setting up the story. The district they live in has not seen significant precipitation in years. There is a water shortage for the people there as well as for the goats the shepherds in the local area care for. The shepherds call their crowd; they take care of Pranalu and appear to be as genuinely subject to them as the voiceless animals are. However, the backwoods they live near is liberal. She gives them food and even water when the opportunity arrives, aside from stopgap weapons made from rocks to shield themselves from hunters, both human and creature kinds.
There is no shortage of contention when you take a lot of people and toss them into the woods. They're simply not the sort of "contention" you're generally used to finding in film. Aside from battling for their lives when the danger of a tiger poses a potential threat, deforestation is likewise something the film manages. The ancestral local area living there has its own arrangement of issues that nobody can track down an answer to apart from offering compassion. Ravi's development from a man who shudders at seeing a snake to one who will look at a tiger without flinching to safeguard his own vehicles takes you to an entire different universe. one that is pretty much as demanding as it is giving. Ravi Prakash gets a moving speech that stays with you. Sai Chand makes your heart break when he sobs for some rain.
Rakul Preet Singh plays the scrappy Obu, Ravi's hesitant sidekick. The last option may be knowledgeable, however the previous is the person who realises the world he's presently living in. She feels comfortable around the crowd as well as the woods, transforming into his master to show him the ropes. How Ravi and Obu's romantic tale is woven into the greater story is great, regardless of whether it leaves you needing more now and again. A strangely positioned dance number to the side, MM Keeravani's music works effectively at communicating their adoration when they can't. The manner in which they start to see each other's reality additionally works.
Notwithstanding the solid and interesting story, the film experiences a few specialised troubles. While Keeravani's music is enjoyable and has an equivalent impact in rejuvenating Konda Polam, however much Krish's bearing does, his BGM gets overwhelming in certain scenes. In the tune Shwaasalo, the music doesn't plunge so that you can hear the lines being spoken. Nasser's naming appears to be off at whatever point he calls out Ravi for reasons unknown in the scenes that occur at the UPSC office. While the tiger (both in a real sense and figuratively) is nearly as much a piece of the story as whatever else, the CGI sometimes detracts from the generally crude and normal surface of the film. Also, the stakes don't appear to be sufficiently high at times when Ravi manages to make all the difference with his discourse.
In a film where he doesn't have lines in all scenes, Vaisshnav works really hard at talking with his eyes. His trepidation, happiness, outrage, and downfall run well when he doesn't talk. He could flounder at times, but he works effectively generally. Rakul is as pleasant as Obu, and the name for her personality appears nearly on point, squeezing solidly into the skin of the person. She's a beam of daylight in a generally muffled film. The rest of the cast is a joy too, but the story is the genuine legend of this film.
Konda Polam could have its moments where it comes up short, but it gets a bigger number of things right than wrong. Give this one an opportunity this end of the week in the event that you were trusting that a remarkable story will be told from the start. However, this isn't the best film for you on the off chance that you're searching for some masala.