Euphoria Review: A thought-provoking drama, but falters midway

Euphoria: What’s the story about?

Chaitra (Sara Arjun), a bright 17-year-old student, steps out one evening with a friend to a pub. There, she comes across Vikas (Vignesh Gavireddy), a wealthy youngster, accompanied by four of his friends. After the party, Chaitra’s friend leaves early, while she waits for her father to come and pick her up.

At this moment, Vikas persuades Chaitra to join him and his friends for a short drive, assuring her it is just harmless fun. Trusting them, she gets into the car. What follows is a horrific turn of events, as Chaitra becomes a victim of a brutal gang sexual assault.

The case eventually reaches the court, which finds Vikas and his friends guilty and sentences them to life imprisonment. However, the story takes an unexpected turn when Vikas’s mother, Vindhya (Bhumika), approaches the court claiming that she herself is the criminal and seeks prosecution.

Why does Vindhya take such a drastic stand? What actions does she undertake thereafter? And how does this shocking legal battle evolve into a powerful moral lesson? The film’s core narrative unfolds around these questions.

Analysis

Gunasekhar, known for mainstream hits like “Chudalani Undi” and “Okkadu,” makes a conscious shift from large-scale spectacles to a gritty, issue-driven drama with “Euphoria.” The film marks a clear departure from his usual cinematic canvas and instead focuses on moral dilemmas and disturbing realities such as underage drinking, drug abuse, and juvenile crime.

To Gunasekhar’s credit, he not only chooses a relevant subject but also presents it in a fairly engaging and unconventional manner, especially in the first half. He does not shy away from depicting the sexual assault incident or the subsequent legal proceedings that find the five youngsters guilty. This setup, rooted in investigation details and crime scene reconstruction, is handled with a sense of realism and restraint. These portions keep the narrative gripping and offer a glimpse of a more grounded, evolved Gunasekhar.

However, after a strong foundation in the first half, the film begins to lose its grip post-interval.

The narrative shifts focus from the crime itself to Vindhya’s character and the broader moral debate surrounding society and parenting. The film argues that flawed parenting is the root cause of criminal behavior (her words: “a bad root is the cause of bad fruit”), with Vindhya asserting that morality should also fall under the purview of the legal system. This is where “Euphoria” becomes problematic.

The idea that criminal tendencies stem solely from parenting failures is debatable, and extending moral accountability into legal territory raises uncomfortable questions.

Adding to the inconsistency, the second half meanders into multiple directions, including sequences resembling mass-style crackdown on drug mafias. While the intention behind these portions is appreciable, they do not seamlessly integrate with the film’s central narrative and dilute its impact.

That said, the climax stands out. The final twist is tastefully executed and lends emotional closure, partially redeeming the film’s uneven second half. Despite its flaws, “Euphoria” does manage to underline some hard-hitting points with sincerity.

Bhumika Chawla anchors the film with a composed and emotionally resonant performance. As a mother grappling with guilt over her parenting and her son’s crime, she conveys pain and inner conflict with dignity. Her performance in the sequence involving her drug-addicted son is particularly powerful. Sara Arjun delivers a convincing performance as the teenage victim, while debutant Vignesh Gavireddy makes a promising impression as Vikas, especially in the latter portions.

Bottom line: “Euphoria” raises pertinent questions about teen crime, drug culture, and parenting. Gunasekhar’s sincere and gritty narration works effectively in the first half, but the film falters due to narrative detours and debatable moral positioning in the latter half. The intent is commendable, even if the execution slips.

Rating: 2.5/5

By Jalapathy Gudelli