‘RaaKaaSaa’ movie review: Sangeeth Shobhan’s supernatural fantasy tale banks big on humour

In the Telugu film RaaKaaSaa, debut director Manasa Sharma relies on the strengths of Sangeeth Shobhan, Vennela Kishore and Getup Srinu

Yesteryear filmmaker B. Vittalacharya’s fantasy tales enjoyed immense popularity in Telugu cinema of the 1960s, serving as paisa vasool entertainment with a dash of action, adventure, romance, and catchy music. The bravura of his adventurous protagonists came to the fore as they battled curses, life-threatening peril, and exorcisms through a series of challenges that kept viewers hooked.

While director Vassishta paid a fond tribute to the veteran in Bimbisara(2022), first-time filmmaker Manasa Sharma lends a playful contemporary spin to his signature tropes with RaaKaaSaa. This supernatural thriller, infused with liberal doses of humour, follows the carefree NRI Veera Babu (Sangeeth Shobhan), who is thrust into troubling situations in a village where superstitions are heeded to.

The saga, centred on a cursed fort, opens with an arresting folklore about a deadly demon who supposedly demands human sacrifice to prevent the ruin of a village. Amid predictions of doom, a much-pampered Veera Babu returns from the USA to seal his love life with a local girl. When the plan fails, he becomes entangled in a horrifying ritual that upends his existence.

Initially, RaaKaaSaa does little to alter the tropes associated with horror-comedies. It builds a chilling backstory around the fort, takes its time establishing the laidback village ambience, and lays the foundation for the core conflict. The goofy protagonist, fresh off a breakup, is joined by a sidekick named Balu (Getup Srinu), while striking a connection with childhood sweetheart Subbalakshmi (Nayan Sarika).

The backdrop, though set in a fantasy world, appears slightly primitive. Veera Babu, for instance, is asked to apply kajal to a woman’s waist to win her over. A typical village headman resolves local disputes by pronouncing unusual punishments, while a manipulative senior priest indulges in occult practices to sway the locals. Predictably, it takes an educated youngster to question their ignorance.

The filler portions that take jibes at local realities and eccentric characters are funny in parts, but do not quite bring the roof down. The writing is occasionally gimmicky and verbose, though Sangeeth Shobhan holds the fort, operating in the same comedic meter as the MAD franchise. Once the director establishes the link between Veera Babu and the fort, the proceedings gain momentum.