Kajal Aggarwal aced her actions with an ease, just as her idol Vijayashanti did.
“The Queen of Masses”–as referred to in the title cards– Kajal Aggarwal, is a ‘sincere’ She-Team cop stuck in a semi-corrupt police system in Hyderabad trying to solve the ‘small’ case turning into a very hard case to crack. That is expected. And, I don’t intend to reveal much spoilers. It is a thriller, duh!
The relevance of the film can be gauged by its contemporariness. That can determine how relatable the story is to the current times. The aspect where Sathyabhama excels is when it goes beyond the regular Tom and Jerry Cop-Criminal Chase and addresses contemporary issues, especially in the digital space. Sathyabhama, directed by debut-director Suman Chikkala, addresses multiple issues ranging from overtly-used Woman Empowerment, to the online crimes like deep fakes and extortion, honey-trapping and digital identity.
The plot, written by Prashanth Reddy Motadoo and Ramesh Yadma, of seeking vengeance for the sake of justice is tightly packed with action sequences. And, the screenplay written by Sashi Kiran Tikka, who is known for his Major (2022) and Goodachari (2018), had helped to conceal many things than to reveal the clues– that makes Sathyabhama a good thriller.
Woman as cops is not an unusual image on screen. Kajal herself has played cops before, take Vijay’s Jilla for example. But, the type of cop Kajal has played in Sathyabhama, Kajal has never played. I hate to call it, but Sathyabhama is a true lady-oriented cinema. I hate to call it lady-oriented for the sexist wording, but in this sexist context, Kajal as Sathyabhama makes an exception for herself by not abiding to the standard definitions.
Kajal’s fierce heroic posture reminds us of the classic Vijayashanti. It is refreshing to see a woman in a mass masala evil chaser avatar. Kajal did it with ease.The statements passed through the movie are solid. Especially the scene where Kajal punches the so-called criminal till he bleeds with her bangles on in a wedding-saree is a solid whistle-worthy scene for its “feminine” masculine power, if you choose to ignore the illethical custodial torture, its alright. Anyway, it’s a commercial thriller.
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