Prakash Raj, Bhoomika Chawla,
Tanikella Bharani, Paruchuri Venkateswar Rao,
Vizag Prasad, Siva Prasad, Brahmanandam,
Venu Madhav, M S Narayana, Krishna Bhagavan,
Babu Mohan, Kausha, Asmita,
Dharmavarapu Subramanyam,
Kondavalasa Lakshmana Rao, Duvvasi Mohan,
Gundu Hanumanta Rao, Malladi Raghava,
Melkote, Delhi Rajeswari.
There are many women who have given up their career for the love of the family, do not pursue success outside their own home and yet are tremendously happy being the traditional housewife. There are more women who are into sports, politics, NGOs and run their household with great dexterity without complaints. If at all a woman has given up her job after her marriage, it's her individual choice or the choice of her family, how they co-exist solely depends on their understanding.
Sadly, the director [Tekula Krupakar Reddy] ignores the above situations and single-mindedly generalizes Indira's (Bhumika) story, projects her as a bra burning feminist who after many years realizes that she lacks identity of her own and is being walked upon like a carpet by her father and husband. She is shown as a woman to whom marriage and motherhood is a sacrifice and attracts a movement by many women who have found their reflection in her plight.
Thankfully Indira is not mopping the floor and wiping the beads of sweat that trickle down her face, she is dressed in crisp cottons and remains almost mute for a full two hours of the film 'Collector Gari Bharya'. When the emotional atyachar begins to mount the pregnant Indira, she doesn't rebel, she goes to a Sai Baba temple and prays tearfully, and the result is almost instant. This time it's a boy and the chauvinist husband is deliriously happy.
The MBA turned housewife is enlightened in the temple again, an old friend offers her gyan and it works like magic on her. She goes on a strike at home, her hubby takes up the household chores, she holds press conferences and becomes a potential politician and finally the husband repents and lauds her contribution amidst her thousand admirers.
Prakash Raj and Bhumika Chawla are just set properties and their umbrage is hardly intense. There is no scope for compelling performances as they have been drilled, denied the opportunity to let their characters improvise or do anything unexpected. Prakash Raj plays a parochial character who despite being an IAS officer craves for a male child. He looks visibly uncomfortable, distracted in the role while Bhumika confines herself only to two expressions, sad and over worked. The audience cannot be more disinterested in a script that is so outdated and has been long banished into video obscurity.
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