All actors are in top form, though Nani gets the meatiest role and bites into it with every fibre of his being, giving a performance that is as much physical as emotional.
“Everyone drinks the same alcohol, but our caste determines whether we drink inside the bar or outside.” This is something we get to know early on about the situation in the village Srikanth Odela’s film is set in. Most men (and even some women) begin their day with drinks and are content to remain alcoholics. Even Nani’s hero-introduction shot (he plays Dharani) includes a bottle of booze. And this bar, with an image of Silk Smitha and named after her, is the centre of local politics: it’s a sort of prize. The person who wins the elections takes control of the bar, and gets to nominate who becomes the treasurer. That post makes someone a big shot in the village. For a while, Dasara just wants to immerse us in these local politics, these local colours, these local flavours. We get character-establishing scenes, of course – but we also get world-establishing scenes, magnificently shot by Sathyan Sooryan. A coal mine is the centre of economy, and every frame seems dusted with soot.
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