Cast: RK Sagar, Misha Narang, Dhanya Balakrishnan, Vishnu Priya, Tarak Ponnappa, Kalyani Natarajan, VV Giridhar, and others
Music Director: Harshavardhan Rameshwar
Cinematographer: Shyam K Naidu
Producers: Ramesh Karutoori, Venky Pushadapu, J Tarak Ram
Director: Raghav Omkar Sashidhar
Rating: 2/5
Suresh Kavirayani
RK Sagar, known for his iconic role as RK Naidu in the TV serial Mogali Rekulu, has made several attempts to establish himself on the big screen with films like Siddhartha, Man of the Match, and Shaadi Mubarak, though none of them brought him notable success. He’s back with The 100, released this Friday. Directed by Raghav Omkar Sashidhar, the film features Misha Narang as the female lead, with music composed by Harshavardhan Rameshwar.
Story
Vikranth (RK Sagar) is a sincere and hardworking police officer. During duty at a function, he notices a young dancer, Aarthi (Misha Narang), and develops feelings for her. Meanwhile, a mysterious gang of masked dacoits has been robbing rich households, stealing only gold while leaving behind money and other valuables.
During his investigation, Vikranth observes a pattern—the robberies all occur on Amavasya (new moon) nights. He discovers that Aarthi’s house was also targeted, but to his surprise, her family never filed a police complaint. Upon digging deeper, Vikranth learns that Aarthi was raped during the robbery.
Determined to solve the case, he captures the dacoit gang, only to be shocked when they claim they never harmed any women and only stole gold. So, who raped Aarthi, and what was the motive? Four young men surrender to the police claiming they committed the crime—but are they really the culprits? Why did Vishnu Priya commit suicide? What’s the connection between all these incidents? The crux of the film lies in uncovering the truth behind these events.
Analysis
Director Raghav Omkar Sashidhar comes up with an interesting story, which starts strongly with Vishnu Priya’s suicide and the gold heists. These elements spark curiosity and provide a solid setup. However, the film gradually slips into mediocrity due to the director’s lack of experience. Instead of turning into a gripping thriller with twists and turns, The 100 becomes a regular, formulaic outing.
As is often the case in Telugu cinema, the inclusion of a couple of songs hinders the momentum of the serious narrative. The 100 belongs to the investigative thriller genre, much like the HIT series, which demands a tighter screenplay and less cinematic liberty.
Vikranth hiring an ethical hacker who can access any mobile phone or camera within seconds is highly unrealistic and purely cinematic. Most of the investigation takes place in the police station with Vikranth monitoring surveillance footage. While not inherently wrong, it lacks the excitement of on-field investigation, evidence gathering, and high-stakes confrontations that make thrillers engaging.
Scenes featuring NHRC officers grilling Vikranth feel excessive and unrealistic. The SI Giridhar character also becomes irritating due to his over-the-top portrayal. The film introduces action scenes and glorifies the protagonist in a way that feels disconnected from the tone of the core story. With a bit more attention to detail and tighter execution, this could have been a taut thriller—but as it stands, it falls short.
Performances
RK Sagar fits well into the role of a cop. His body language and dialogue delivery reflect his effort. While playing a police officer isn’t new for him, he brings a more serious tone to the role this time.
Misha Narang looks beautiful and delivers a neat performance. She gets a substantial role and makes good use of the opportunity. Dhanya Balakrishnan plays a key part and fits her role perfectly. Vishnu Priya’s character is crucial to the storyline, and she does justice to her part.
Kalyani Natarajan, as Sagar’s mother, performs gracefully. Tarak Ponnappa appears in a negative role and has a strong screen presence. VV Giridhar, as the SI, occasionally goes overboard with loud dialogues that feel forced.
Technical Aspects
Shyam K Naidu’s cinematography is good and supports the film’s tone. Harshavardhan Rameshwar’s music is average and doesn’t leave a strong impact. The dialogues are passable but not particularly memorable.
Verdict
The 100 had the potential to be a gripping investigative thriller, thanks to its interesting premise. However, due to weak execution, forced songs, and unnecessary cinematic liberties, it ends up as a formulaic film. Director Raghav Omkar Sashidhar should have focused more on the story and its narration to turn it into a truly intense and engaging thriller.
