Gaami Review And 1 Day Collection : Released New Telugu Movies Gaami as a Gift on the Occasion of Mahashivratri 2024

The movie “Gaami” has stormed the box office with its thrilling adventure. Released as a gift on the occasion of Mahashivratri, this film is a marvel of technical prowess and visual spectacle, receiving praise from all quarters. Critics and audiences alike have given it a resounding thumbs up, leading to a massive opening at the box office. Delving into the collections of this film, it was made on a hefty budget amidst adverse conditions opposite the Himalayan mountain range. Produced under the banner of Kartik Creations and V Celluloid by producer Kartik Sabarish, this film, helmed by the talented director Vidyadhar Rao Kagita, is estimated to have been made at a cost of 24 crore rupees. Trade sources indicate that the pre-release business of this film was 11 crore rupees.

In the opening credits of the Telugu film “Gaami (Seeker),” one phrase stands out: “Dedicated to the Crowd.” For those new to the scene, this film began as an indie venture backed by crowd-funding before gaining the support of a prestigious production house (UV Creations) to flex its muscles.

The making of Gaami spanned over seven years, as its creators – the visionary director Vidyadhar Kagita and producer Kartik Sabarish – took numerous steps to tell a story that goes beyond the traditional boundaries of Telugu cinema.

Watching the film on one of the country’s largest screens, I’m delighted to say that the result is a slow-burning gem, offering much in terms of narrative depth and technical finesse, resulting in a visually rich experience.

While Vidyadhar embarks on a journey of assured direction, actor Vishwak Sen confirms his ability to deliver an internal, nuanced performance even when words are scarce.

As they say, patience is key. If mainstream cinema storytelling is your cup of tea, approach Gaami with a bit of patience. The wait is worth it, resulting in a rewarding experience.

Gaami plunges us into the world of its protagonist Shankar (Vishwak Sen) right from the start. In the initial segment, we witness Shankar’s plight in an Aghori ashram in Haridwar. Here, amidst the elements that construct the Aghori world (including production design by Pravalya Duddupudi and cinematography by Vishwanath Reddy and Ram Nandigam), we learn of Shankar’s affliction – an inability to experience human touch. Depicting the consequences of living with such a condition, which some Aghoris consider a curse rather than a challenge, is no easy task. Writers Vidyadhar and Pratyush Vatapu gradually unravel the character’s struggles and his journey of self-identification.

Shankar is told that he must undertake a journey to the Himalayas, where a medicinal mushroom with healing powers lies hidden; a mushroom that blooms once every 36 years. However, there are conditions, and he must ensure their fulfillment within a limited time frame.

This tale is just a part of the story. Gaami presents us with something more than a daring adventure on the vast Himalayan terrain. We get to know two parallel narratives. Helped by the scene composition, color palette, and mood set by Narayana Kumar and Swikaar Agasti’s music, tonight we are presented with these stories with a seriousness.

In a distant place, an illegal medical camp uses teenagers as guinea pigs for experiments as deadly as lobotomies. From this hellish pit, a teenager named City-333 (Mohammed Samad) yearns for freedom. Elsewhere, in a village in the Telugu states, a woman (portrayed by MG Abhinay as Durga) realizes that escaping her “devadasi” past is not easy and that she must flee for her daughter’s safety.

Gaami opts for a deliberate pace in presenting the stories to allow empathy with the characters. There’s no hesitation in using silence to bring forth feelings of helplessness, sadness, and self-awareness, as demanded by the situations at various points in the narrative.

The three protagonists are seekers of freedom in their own ways. For one, it’s about taking a breath of fresh air and being able to gaze at the vast sky. It’s as fundamental as that. For another, it’s about experiencing the freedom to live without being preyed upon. From the claustrophobia of the medical camp to the expansive Himalayas where humans are dwarfed, scenes present diverse areas in detail. There are times when we’re astonished by the juxtaposition of a flicker of warm light against the darkness of an ashram and elsewhere, feeling the hostility of a treacherous terrain almost palpably.

While the protagonists of the three stories, set in different timelines, are seen almost severed from the mainstream environment, Gaami presents Jahnavi as a contemporary urban seeker of miraculous healing. Scenes depict her as a viewer, trying to understand Shankar and his quest for treatment.

As they climb the Himalayas, it reminded me of my journey with the milkman Nag Ashwin’s Yadavadeva Subramanyam, albeit a far more complex story.

“Gami” is a movie that offers benefits with each watching. In its story, it never stays on the surface. For example, the difficulties in the Himalayas don’t necessarily evoke the same sense of wonder and mystery among spectators. However, these are small grievances. This daring new Telugu indie is well worth acclaim.

The film “Gami” provides advantages with each viewing. It never remains on the surface in its narrative. For instance, viewers aren’t always as taken aback and mystified by the challenges seen in the Himalayas. Still, these are minor complaints. This bold young Telugu independent artist deserves much praise.

It becomes feasible to predict how the story may end in some places as it approaches the climax. When it does, though, I can’t help but smile and wonder whether “Gami” has its sights set on another Telugu independent movie that came out a few years ago (though that would give away the plot). In keeping with Shankar’s name and his tour of the Himalayas, it also has a spiritual undertone. It’s hard not to be moved by Vishwak Sen’s outstanding portrayal as Shankar’s search for healing turns into a spiritual journey. This is relevant to the characters in City-333, which is worse than a medical camp and where identification is seen as a privilege. Uma and I fervently support their relocation to a safer location. Although Chandini’s character may at first seem flimsy, she skillfully enhances Shankar’s tale all the way to the conclusion by explaining why fate selects a select few for healing rather than all those who seek it out. Even in her small role, Chandini has an impact.