She largely acts as an entry point for the audience, discovering new aspects of the Moonhaven community from a point of naïveté. McDonald is the strongest performance of the cast. It doesn’t help that Moonhaven seems unbothered by leaving so much of its worldbuilding as an afterthought. The plot seems to consider itself to be very series, but it gets lost beside campy dialogue and the burden of a half-baked world. From the utilitarian garb to simplistic traditions and carefully constructed belief systems, it all feels out of concert with the technology that they use. The stripped-down basics of Moonhaven often feel at odds with the surrounding technology. Building a world from scratch is an arduous task even for a world that is built on the bones of our own. While the ethos of Moonhaven is compelling-a utopian world that gets ensnared in dangerous conspiracies-the execution of that on-the-nose allegory is lost in translation.
The first episode sets up an intriguing mystery to solve, but the next five episodes meander towards a rather disappointing conclusion. The sluggish pace tears the film apart in the second half.RELATED: 'Moonhaven' Trailer Shows Joe Manganiello and Dominic Monaghan in a Fantastical Sci-Fi Settlement The track involving Maoists feels forced. After a point, they stop offering anything new. The voluminous dialogues take the form of duels in the council.
What does she think when she is alone? Why is she not agonized over the affluence that has faded over the years? Would it not have humanized her character had she expressed embarrassment at what she is reduced to do by circumstances? In all this, the film forgets to make Jayamma emotionally delightful. Her unsentimental language and her penchant for picking quarrels with all and sundry make her a flawed character. At the same time, she doesn't look shaken by the health crisis that has hit her husband, threatening their financial stability. Jayamma doesn't over-dramatize her ordeal. The villagers are captured giggling they are thoroughly entertained when Jayamma holds the village council to ransom. Suma's immense talent can't uplift the proceedings when the writing doesn't soar.Ī multitude of characters manage to impress to a small extent, and that is only and only because of their unassuming performances. But this idiosyncrasy soon gives way to one-note drama. There is fun in the way Jayamma makes her relationship with everyone in the village purely transactional. This particular demerit vastly undoes the film's creative capital. But the central plot is an unending, unidimensional mess. The villagers are saddled with a host of problems and fears. The characters have unpredictable ways, they have best-kept secrets, and there is a decent love track between debutant Dinesh Kumar and a government-job aspirant played by Shalini Kondepudi. Granted that this film is better than the simplistic village-based films made in Tollywood. Her calculations fall flat when the guests she blindly counts on disappoint her with paltry gifts. She calls for a pompous half-saree function in the hope that hundreds of guests give her cash gifts enough to fund her husband's surgery. Around the same time, her daughter attains puberty and Jayamma sees a God-sent opportunity. When the husband (Devi Prasad) is diagnosed with a chronic cardiac issue, Jayamma has to move heaven and earth to mobilize lakhs of rupees for the surgery. Jayamma (Suma Kanakala) and her family of three lead a fairly smooth life in a hamlet in Srikakulam.
The film achieves the distinction of being meandering and banal despite its amusing premise. This is not to say that the film under review is engrossing. This uniqueness helps the writing department conceive scenes without falling back on the stock situations that rural dramas are notorious for. The one noticeable merit of 'Jayamma Panchayathi' is that the central conflict plot point is unique.
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