Movie: Dilruba
Rating: 2/5
Banner: Saregama, Sivam Celluliods
Cast: Kiran Abbavaram, Rukshar Dhillon, Kathy Davison, Sathya, Rahman, John Vijay, and others
Music: Sam CS
DOP: Viswas Daniel
Editor: Praveen KL
Action: Pruthvi
Producers: Vikram Mehra, Siddharth Anand Kumar, Ravi, Jojo Jose, Rakesh Reddy
Written and Directed by: Viswa Karun
Release Date: March 14, 2025
Following the success of his previous film Ka, Kiran Abbavaram grew more confident and actively promoted his new film. The producer even stated that if audiences disapprove of Kiran Abbavaram’s action, they are welcome to physically beat him.
Let’s determine whether this statement reflects confidence or overconfidence.
Story:
After losing his father and being betrayed by his girlfriend, Maggi (Kathy Davson), Siddharth Reddy (Kiran Abbavaram) becomes resolute in never saying "sorry" or "thank you."
Seeking a fresh start, he enrolls in a college in Mangalore, where fate brings him closer to Anjali (Rukshar Dhillon). Over time, their bond deepens, and they fall in love.
However, a conflict with Vicky, a fellow student, leads to an incident on campus. When the principal demands an apology, Siddharth’s stubbornness takes over, and he refuses, ultimately leading to a painful breakup with Anjali.
Meanwhile, Maggi, now settled in the USA and expecting her first child, decides to return to India with a mission: to reunite Siddharth and Anjali.
But what really caused Anjali to walk away? And why is Maggi so determined to bring them back together?
Artistes’ Performances:
Kiran Abbavaram appears slightly different from his previous films, though his acting style remains unchanged. He tends to speak excessively loudly throughout the film. He needs to understand that yelling and shouting do not equate to acting, as he maintains the same high volume in nearly every scene.
Rukshar Dhillon and Kathy Davison deliver decent performances, but nothing exceptional. John Vijay, as the villain Joker, comes across as annoying rather than menacing.
Sathya’s screen time is minimal, and his role, as well as his humor, falls flat. Given that Sathya plays the hero’s friend, it’s puzzling why the filmmakers didn’t utilize him for comedy.
Rahman and Tulasi, playing the hero’s parents, give sincere performances, but their presence leaves little impact on the overall narrative.
Technical Excellence:
Although the film appears to be a love story, it features numerous fight sequences. The action directors seem to have had more work than the rest of the technical crew.
The song "Hey Jingili" is catchy, while the cinematography is decent. The production values are strong, but the film needs significant trimming. The writing, however, is subpar.
Highlights:
Couple of moments
Two songs
Drawback:
Poor writing
Unnecessary action scenes
No clarity in story’s flow
John Vijay’s character and his episodes
Lot of silliness
Analysis
At its core, Dilruba follows a hero who stubbornly refuses to say "sorry" or "thanks," believing that these words are often used out of selfish necessity. He avoids them throughout the film, convinced that apologies and gratitude lose their value when given out of obligation.
While this concept could have worked as an interesting character trait, it instead turns into a preachy narrative, with the protagonist frequently delivering lengthy monologues, reminiscent of early Trivikram films.
The film revolves around two love stories—one with his childhood sweetheart and another with his college friend. However, instead of drawing us in, both romances test our patience.
The story begins with Kiran Abbavaram’s character coping with a breakup, only to quickly transition into his new relationship in Mangalore. Just when things seem to settle, his ex-girlfriend returns, attempting to reunite the current couple. This could have been a compelling emotional arc, but the film abruptly shifts into action mode, derailing whatever engagement it had built.
A drug lord suddenly enters the picture, leading to over-the-top action sequences, where Kiran Abbavaram fights like a mass hero, delivering exaggerated high-pitched dialogues. This abrupt tonal shift makes the film clumsy and directionless.
The romance, which should have been the heart of the film, falls flat. The first love story is barely explored beyond flashbacks, while the second, though promising at first, quickly turns predictable and routine. Meanwhile, the college antagonist’s entire motivation—forcing the hero to say “sorry”—feels absurdly weak.
With Sathya playing the hero’s friend, one would expect at least a few decent comedy sequences, but even that fails to deliver.
Between its prolonged action scenes, lackluster romance, and a protagonist more focused on delivering monologues than real conversations, Dilruba struggles to find its footing. What could have been a decent romantic drama instead turns into a disjointed mess that leaves the audience disengaged.
Overall, Dilruba is yet another disappointing outing from Kiran Abbavaram. After the success of Ka, expectations were high for a fresh and engaging attempt, but this film ultimately ends up as a fragmented, uninspired mess rather than a compelling drama.
Bottom-line: Sorry, No Thanks
