The teaser of Dear Comrade that released a few weeks ago went viral in no time. . The visuals show Vijay Deverakonda raining blows on a student in one segment and another one shows Rashmika and Vijay Deverkonda in an intimate moment in the rain. Pleased with the response to the trailer, debutant director Bharat Kamma says the tagline ‘fight for what you love’ sums up the film centred around a love story. Action and cricket are just a backdrop, so the fights and romance move on parallel lines.
The title of the film is intriguing: ‘comrade’ is usually associated with a communist friend. Bharat however does not want to share why he uses as a title; ‘wait and watch on screen’ is his answer .
Referring to a major re-shoot that took place a few months back,
It is an emotional performance and those who have seen Rashmika in a glamorous avatar in her previous films will be surprised to see her without make-up, says Bharat.
Cricket seems to be the flavour of the season, with Majili and Jersey followed by Dear Comrade. Bharat hwoever is clear: “Dear Comrade has the sport for a backdrop, it’s a small part of the film. ”
It worked well for Bharat to shoot in Kakinada as it happens to be his native place. He had pursued an animation course and developed a flair for writing; thereafter he focused on screen writing for two years. He also worked in director Chandrashekar Yeleti’s team for all his films till Prayanam. He made two short films after that and when they won acclaim, he decided to make a full fledged film. “A short film is like a business card that you can show to producers,” he smiles.
Speaking of genres, Bharat says, “I like drama; there are hardly any films without drama, whether it is a Titanic or Sagara Sangamam, it is a visual emotion. When I started out narrating stories to producers, I encountered various experiences. Every aspiring film writer has 20 to 30 stories but the problem is about which story to approach with first. Usually if a film turns out a hit, producers ask us to come up with a similar story/genre; so we writers have to re-work and change the grammar. If I narrate a story and the producer doesn’t take a liking to it, it isn’t all over yet. Two years later when he sees a hit film , he might be reminded of what I had narrated to him earlier owing to some faint resemblance. Then they ask for my story again. If Imight have made some changes in the meanwhile, I go with the new story. Writing changes for many reasons, especially with budgets and star actors involved.”