Sapta Sagaradaache Ello Side B review: Hemanth M Rao's sequel feels misdirected

If 'hope' was the keyword in Hemanth M Rao's Sapta Sagaradaache Ello: Side A, the second part, or Side B, of his film rides entirely on catharsis. Almost everything seemed precariously placed by the end of Side A, which saw the combined life of Manu (Rakshit Shetty) and Priya (Rukmini Vasanth) altered for the worse after one bad, unthought decision. As that film progressed, we understood that there's more to this story than meets the eye because the weight of that decision was to come down heavy on them. And Sapta Sagaradaache Ello: Side B is all about the price they have paid during the 10 years that separate the two films, and will most likely continue paying forever.

It's important to note here that Hemanth M Rao, the co-writer and director, chooses to explore all of this primarily through Manu, while Priya rests in the backdrop for most parts. Manu is not the guy we met at the beginning of Side A, but a more intense version of the man he turns into in the concluding portions of that film. As he walks up to the camera in the opening shot of Side B, we can sense that he carries multiple versions of himself within him. Is he tired and weary after the prison stint? Is he conserving that rage and energy for the revenge he seeks and deserves? Or does he simply yearn to dial back the clock and be in Priya's chirpy company? It could be all of it wrapped together. What Hemanth Rao does well is to peel out layer after layer of Manu's new personality, not just to expose him, but also to move the story forward.

In Side A, Hemanth does not see Manu as the hero of the story, but more as a young man who reeks of innocence. The Side B Manu is a different man altogether. As the story unfolds, we realise that it is this version that the filmmaker wants us to see and soak up. For Hemanth Rao, his protagonist isn't just a tragedy-struck mortal, but also a scrappy fighter who is capable of becoming a guardian spirit when needed.

Interestingly, this spectacular view of the leading man is also the undoing of the film. Almost every character in the film seems to be in service of Manu’s journey, while he tries to get rid of his guilt and emotional baggage. Each of these 'players' in his life have a quirk and even seem like well-rounded personalities, but as the story plods along, we understand that they don't matter much in the larger scheme of things. A bigger problem arises when even Priya joins this category.

As much as Hemanth and co-writer Gundu Shetty try to imbue Priya's new state of being with some depth and nuance, we just never get the chance to learn what she truly feels about everything that's transpired. Sure, her gait, her eyes, and her demeanour are suggestive enough, but the writing doesn’t offer her the platform to make her own choices. It helps that Rukmini Vasanth does a fine job at communicating all this and much more with her simple touches, but one cannot deny that the writing comes off as slightly reductive while dealing with her portions.

Some of the other important characters too suffer as a result of this ‘patchiness' in the writing. Chaithra J Achar's character Surabhi is given some scope, but is treated with such haste towards the end that you are left perplexed, even fuming. Gopal Deshpande as former prison inmate and now best friend is again confined to the 'sidekick' archetype. The actor, despite the limited screen time in Side A, played some really heartwarming moments, but the writing, unfortunately, isn't as skillful in Side B. Ramesh Indira as Soma is intimidating, yes, but his influence on the story feels overdone. 

These shortcomings are compensated by the visual storytelling of Hemanth and team. It is in these parts that all the resources are at their individual best and the synergy is palpable. The lodge scene in the first half, the way Priya's new "world", which is far away from the one she longed for, is presented to us without any dialogue, or the way Manu bursts out in rage as the climax approaches — these and a few other scenes are easily the highlight of the film. 

Advaitha Gurumurthy does an extremely good job once again, but his work in Side A felt way more impactful. Charan Raj too is at the top of his game, but the problem is that Side B is stuffed with scenes, tropes, and so many story angles that you don't really carry the essence of his music back with you.

Sapta Sagaradaache Ello: Side B has many small moments to cherish, no doubt, but the film falters on various fronts because of its limited focus. There's just too much emphasis on the leading man's inner turbulence that the rest of the characters become redundant. Side B, of course, was always meant to be more searing and intense compared to Side A, but the issue doesn't lie in the tone or the mood of the film. Instead, it lies more in the fact that Hemanth M Rao's idea of poetic justice feels a little mislaid here. Regardless, the film is worth a viewing for all that it offers — solid performances, a strong emotional core, music, and cinematography. Does it deliver on the promise of a glorious ending? Well, if only the answer was as simple as that.

Disclaimer: This review was not paid for or commissioned by anyone associated with the series/film. TNM Editorial is independent of any business relationship the organisation may have with producers or any other members of its cast or crew.