Gurram Paapi Reddy review: an uneven dark comedy with flashes of fun
Gurram Paapi Reddy review by Kausalya Rachavelpula
Gurram Paapi Reddy is a Telugu film that attempts to merge dark humour with crime, absurdity, and quirky character-driven storytelling. Directed by Murali Manohar, the film features Naresh Agastya in the lead role, alongside Faria Abdullah, and offers a concept that is unconventional for mainstream Telugu cinema. While the premise promises a mix of suspense and comedy, the execution leaves the audience with an uneven experience. The film entertains in parts but struggles to maintain consistency throughout its nearly two-hour runtime.
The story centres on Gurram Paapi Reddy, an eccentric and unpredictable man who becomes entangled in a bizarre situation involving a dead body. His journey is chaotic, peppered with unusual decisions, morally grey actions, and interactions with a range of characters with conflicting motives. The narrative leans on dark humour, situational comedy, and unexpected twists, with the filmmakers aiming to make the audience laugh at situations that are typically uncomfortable or morally complex. The film tries to present a unique flavour of comedy that stands apart from the standard slapstick or romantic humour often seen in regional films.
In the opening sequences, the film shows promise. The early setup is clever, establishing the oddball nature of the protagonist and creating a playful tone that engages the audience. The humour here feels natural, emerging from the characters’ quirks and the situations they navigate rather than being forced. Naresh Agastya carries the role of Gurram Paapi Reddy with confidence, using his expressions and timing to bring out the character’s eccentricities effectively. He portrays the oddball protagonist with conviction, making it easy for viewers to invest in his unpredictable journey.
Faria Abdullah brings enthusiasm to her role, adding energy and a grounded presence opposite the lead. Their chemistry works reasonably well, and the interactions between the two characters form some of the film’s more enjoyable sequences. Several supporting actors also contribute to the film’s comedic and narrative moments, adding depth to the chaotic scenarios the story unfolds.
However, the film struggles with pacing as it progresses. Certain scenes drag on, reducing the impact of what initially felt fresh and engaging. Repetitive comedic sequences begin to lose their appeal, and the story occasionally meanders without a clear sense of direction. A mid-film twist provides a temporary lift, injecting some intrigue, but the momentum is not sustained. The tonal balance between comedy and darker elements feels inconsistent, with the film often hesitating to fully embrace either approach.
Technically, the production is functional. The cinematography and visuals serve the story adequately, and the background score complements the mood without being distracting. Editing is one of the weaker aspects, as a tighter approach could have enhanced the narrative flow and kept the audience more consistently engaged. Some sequences would have benefitted from sharper cuts to maintain tension and comedic timing.
Despite its flaws, Gurram Paapi Reddy has moments of genuine humour and quirky charm. It is likely to appeal to viewers who enjoy unconventional stories and character-driven comedy, as well as those who appreciate films that take creative risks. Yet, for audiences expecting a tightly woven narrative or a consistently sharp comedy, the uneven pacing and occasional lack of narrative cohesion may prove frustrating.
In conclusion, Gurram Paapi Reddy is a film with a creative premise and flashes of entertainment, but it falls short of fully realising its potential. The strong performances and moments of inventive humour are offset by pacing issues and tonal inconsistencies. While it may not appeal to everyone, it offers enough unique elements to keep audiences curious and entertained in parts.
