Title: USIRU, Producer: Lakshmi Harish, Director: Panem Prabhakar, Music: Ganesh Narayan, Camera: Mohan Ram, Cast: Tilak, Priya Hegde, Santosh, Arun, Bala Rajwadi, Raghu Tamanakoppa, Apoorva, and others.
“Wild hunt begins in Usiru 2” says the last line on the screen in this Usiru Kannada film released this week. The confused method and hip-hopping in the screenplay no doubt showcase the intelligence of director Panem Prabhakar. But tidy handling and a quicker screenplay would have made this a taut thriller.
The numbers 7, 8, and 9 below the title of this film also keep the audience guessing, but crispness is lacking. USIRU has quite a few tracks in the narration. The fact is that the 10th murder is bound to happen. It is that of the pregnant wife of the newly appointed police inspector Raj. To avoid this, the Raj’s struggle is meager, but the sentiment angle that the director brings in touches the heart and raises the level of the film.
The childhood setbacks in life are difficult to forget. After serving 10 years, Soorya is on the hunt for his mother’s killer. This points him to Rocky and Simon, the two deadly friends. On the one hand, the Raj is making a futile attempt to find the killers, while Soorya’s hunt becomes more important for the audience. Soorya, to his shock, finds a resemblance to his mother when he sees Aishu, who is the pregnant wife of Raj.
In this nexus, Soorya takes care of Aishu, but this is mistaken by Raj. This aspect is the main saving grace of the film. Soorya kills Rocky and now focuses on Simon. Simon has a disgusting take on his wife, who is pregnant. In the 10 series of murders, Simon’s pregnant wife is also one of the victims. How Soorya shows his grit and determination in saving mother and child is a breathtaking moment. What happens next is something you have to watch on the silver screen.
Tilak as the cop has done a good job, but it is Santosh as newcomer Soorya who shows promise. Priya Hegde has two roles to perform, and she has rendered good support. Raghu Tamanakoppa as a constable is funny at places. Arun as the villain has set his ground for future films.
Ganesh Narayan has given two lovely tunes. One, sung by Rajesh Krishnan, is hummable and melodious; the other, based on mother sentiment, has meaningful lines. Cinematographer Mohan Ram has managed well in his frames. Harish Komme’s editing deserved to be better.
Producer Lakshmi Harish’s maiden attempt with Usiru is laudable in parts. A more serious approach is needed for the sequel.