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Times of India
A young boy is made to realise that the police form the backbone of society and every cop is akin to Lord Hanuman the protector. He then makes up his mind about becoming a cop when he grows up.
Every policeman is a citizen in uniform and every citizen is a policeman without uniform forms the premise and that’s what the lead character swears by. In keeping with Krishna Vamsi’s films which have a social message disbursed in tandem with the entertainment quotient, Nakshatram does just that.
Rama Rao (Sundeep Kishan) is an aspiring cop. He dreams of becoming an SI and serving the society. Following a bomb blast that claims many innocent lives, Parabrahmam (Prakash Raj), the honest police commissioner of Hyderabad, vows to rid the city of terrorist activities and forms a crack team led by dynamic cop Alexander (Sai Dharam Tej) for the purpose.
Meanwhile, Rama Rao gets into a tiff with Rahul (Tanish), the wayward son of Parabrahmam. How does this quarrel affect his aspirations of joining the force? Is Rama Rao able to realise his ambition or does he get bogged down by circumstances? How does he get connected to the larger picture of Alexander and his investigation? Is Parabrahmam really the honest cop that he appears to be?
Sundeep Kishan does well as Rama Rao, and it’s the first time that he has worked with a top director. He gets a role with scope for performance and has handled it well. His performance in the particular scene where he turns up late for his selection and requests the security guard to allow him inside is praiseworthy. Regina Cassandra as his ladylove is pleasant on the eye. Pragya Jaiswal gets a slightly better role, packed with both glamour and substance. Tanish in a negative role makes his mark and Prakash Raj, as usual, carries his role with ease. Sai Dharam Tej as Alexander, the stylish, dedicated and ruthless cop, is very good. Sivaji Raja has a positive role as constable Sitaram, which he enacts well.
Nakshatram is clearly Krishna Vamsi’s tribute to the ‘men in khaki’. Having said that, barring Rama Rao’s aspirations and characterisation, the drama evokes a sense of déjà vu. We are reminded of Samudram and Khadgam. Besides, the issues of drug abuse and terrorism are covered extensively in the media. So, any plot on those lines would lack the novelty element and that is one of the drawbacks of Nakshatram. And because of this, Nakshatram while not being a bad film, would probably not go down as one of Vamsi’s best works.