Srivathsan Nadadhur
A Chandrasekhar Yeleti-directed film is always viewed with an added degree of reverence and anticipation. In a career largely driven by quality over quantity, he’s never bowed down to commercial pressure and has chosen to direct barely six films in over one and a half decades. His grounded approach to diverse subjects are bound by a strong emotional core and are camouflaged like a thriller more or less – a combo that has managed to age well over time, regardless of their performances at the ticket window. His slick films particularly Aithe, Anukokunda Oka Roju and Okkadunnadu have fared superbly on television. Yet, it’s worthy to discuss the significance of Sahasam in Yeleti’s brief yet an impactful body of work as the film completes seven years of its release today.
Sahasam revolves around Gautham, a security guard, who upon noticing his grandfather’s diary that directs him to his ancestral riches, goes on a treasure hunt to the Peshawar city in Pakistan, accompanied by his God-fearing travel companion Sreenidhi. The film, like his earlier works, rides on a strong screenplay with a delectable thriller undercurrent. Yet, Sahasam is an excellent fusion of the universes of Mackenna’s Gold and that of Vithalacharya’s folklore films. There’s a smart throwback to the independence era while also making use of the tension between the neighbouring nations in the present times to create a good cinematic effect and adding more impact to the antagonist’s part. However, unlike the films we see today, there’s no unnecessary heightened jingoism. It’s just a premise adapted smartly.
There are a series of puzzles, riddles and challenges that the protagonist overcomes to unlock his treasure – this is where Yeleti doesn’t go the Hollywood way and the similarity to the sensibilities of Vithalacharya’s films is apparent. Though the theme is not the easiest to have been executed in a contemporary timeline, Yeleti provides a strong backstory that doesn’t compromise on logic and emotion. He weaves in an element of humour through the parts played by Taapsee and Ali, that do a good job in regionalising the premise and not alienating the audiences who expect some commercial appeal in the film.
There are lots of elements that work in Sahasam’s favour – the simple but effectively portrayed strategy/mind games, the rooted characterisation, the technical precision in action segments weaved in a perfect commercial package. The film’s casting with the likes of Gopichand and Taapsee cashes in on popular appeal effectively, but what holds fort is a grippingly narrated story. Late composer Sri’s excellent background score makes the leadup to the finale all the more compelling.
Yeleti remains the very few directors who have understood and utilised Gopichand’s strengths as an understated performer. Sahasam’s protagonist remains an underdog for the most part, yet it’s a character you root for and want him to emerge victorious. It’s sad that Gopichand hasn’t found many of the middle ground films like Sahasam – where his heroic aura doesn’t always need to be about larger-than-life characterisation. One wished Sahasam fared better than it eventually did, for it would have brought more method to Gopichand’s script choices (which have taken a turn for the worse in the recent years). Though Jil and Oxygen may have worked for Gopichand in terms of style, it fell short on substance. That’s a reason why we value Sahasam more today in all likelihood. Technical appeal, strong performances, gripping screenplay, sensible treatment – it’s a perfect marriage, which we always know is a rarity.
