GF on Rakht Charitra (1 & 2)

The first part of Ram Gopal Varma’s grim, ambitious, schizoid Rakht Charitra is easily the filmmaker’s most interesting, viscerally gripping film since Company in 2002. As a standalone film there is enough in Varma’s sordid, messy, blood-spattered opener to mull over. There is also enough violence here to give Mel Gibson a complex. The blood-lettings don’t occur without some thought or feeling, though, as here, acts of violence become a kind of currency for the film’s world and its sociopolitical “industries”. This is a universe where rivals are embattled in an epic war and barter in hideous acts to out-monster one another.

If in this world monstrous violence acts as a kind of currency, Abhimanyu Singh’s Bukka Reddy is its wealthiest character. This guy, as written and as scarily played by Singh, is possibly Hindi—or Indian—cinema’s most revolting and vile villain, and it makes a lot of sense that he sprang from this mind. Rakht Charitra is most successful for Varma as a fusion of two of his great genre interests—the gangster film and the slasher/horror show—conflated here into one gruesome, ghastly vision of the world. It’s probably the film that represents the summa of his subject interests (if not his most balanced and complete vision – Company remains the testament to that) and in this sense Bukka Reddy—a kind of political gangster and supernatural monster rolled into one, is the centerpiece of the show, even as the ostensible “hero” (if such a word can be used for anyone in this) is the Pratap (Paritala) Ravi character played excellently by Vivek Oberoi. This film is like a hallucination. An entire local history is condensed in two-hours and the great achievement here is the speed with which it moves, hacks, cleaves its way through all of this epic material. Varma’s technique which usually overwhelms everything in nearly any given post-Company film is itself (mostly) subservient to a narrative too twisted, too insane, too eventful, to be overtaken by even the worst of this director’s habits. The result—in the first film—is his best and most potent work in years.

It’s not just the pace or the possible restraint, though. Rakht Chairtra’s English title has been translated as “A History of Blood” and this film’s interests are certainly connected to history. As a political tract about power and oppression, Varma’s work exceeds the posturing of the Sarkar films and certainly as a statement about the birth and twisted modern state of the nation, it is an immensely more interesting product than what came out of Varma’s previous feature, Rann. Rakht Charitra seems at first to side with rebellion, bloody rebellion against oppressive power structures made by and of men who deem themselves higher by any arbitrary or historical standard they devise. The film’s prologue begins with the image of Gandhi, and the futility of his idealistic non-violent symbol in post-Independence India, (his smiling statue overlooks a gory murder) where the well-intentioned, by-the-books reformers—like Pratap Ravi’s father—eventually hit a wall in the form of an immovable, easily manipulated power structure. This prologue ends excellently as the firebrand reformer turns to arms, is subsequently killed by one of his corrupted people, and ultimately has the burden of his freshly violent revolution placed on the shoulders of his sons. The film from this point to its end becomes the story of sons who are embroiled in their fathers’ wars. Importantly, Pratap’s first true act of violence occurs not in response to his father’s death but as a result of his older brother’s murder—and the instant that this fate has been revealed to him, the law of succession kicks in as Pratap immediately inherits mantle of violence, his personal call from history—unfolding here in a superb, classic one-guy-against-six masala fight sequence. This is not the only moment dramatizing a violent inheritance. Bukka Reddy could only be the kind of a monster he is under the tutelage of an incredibly corrupt, irresponsible, power-hungry father. When this father is dispatched at Ravi’s hand, Bukka’s monster becomes—almost impossibly—crazier. He is perpetually restless, a sweating, salivating, simmering madman who explicitly says he is haunted by his father’s ghost, that the ghost rests in his own body now, and he is sleepless with the old man’s need to be avenged at any cost. It is fitting that the father of the nation opens this film, as it is a film about fathers and sons, about the inheritance of a bloodied history. Consequently it is the Mahatma’s non-violent ghost that ironically—and perhaps purposefully, for Varma—continues to haunt every brutally violent frame of both chapters.

And Gandhi is not the only icon to appear and “witness” an act of terrible violence. Midway through the film, the man who murdered Ravi’s father is cornered by Ravi’s men in front of an enormous mural of Shiva. Before he dies, the man pleads with the painting, asking his mute, expressionless god to remind his assassins—led by Ravi—that they will be punished for murdering him. The image of the god is of course silent, but Ravi speaks in its place, assuming the voice of the god, telling his victim that he fully understands his fate and ultimately butchering the man to death. This is an important moment in its recalling the prologue. Two murders in front of two icons—one political, one religious—that are voicing two very different ideas. One of these icons pleads against violence as a means to any end; the other condones and even endorses vengeful destruction. Later, when Shatrughan Sinha’s NTR incarnation, Chief Minister Shivaji, is confronted for his condoning Ravi’s violent ways, Shivaji argues that even characters from scripture had to shed blood to do good—again linking violence to religiosity. Framed in this way, Rakht Charitra can almost be viewed as Varma’s vision of modern India as a nation “stuck” or  pulled between two concerns—two impossible duties. This film places its characters and their history in an intractable position, fixed in a limbo between the will of god and the call of a nation. Given this overarching duality, it makes a lot of sense that the central conflict ultimately comes down to a struggle between two men here. The first chapter ends with Ravi rendering violence obsolete by wiping his hands of it, becoming a politician, turning to the business of the nation—in this way turning his back on god—and thereby meting out a final defeat to Bukka Reddy, who literally weeps when Ravi’s transition to politics is secured. Reddy no longer matters when the terms of the debate have been shifted away from the source of his significance—violence. Appropriately, given his unbelievably disgusting acts against women, (one of the film’s blights is its unctuous scenes of suggested rape) he is ultimately murdered by a group of men disguised in burqa—important not only for its gender subtext but also for its religious meaning because in a universe in which the Hindu gods “appreciate” and even reward violence, it can only be emissaries of another faith that brings this universes’ greatest monster to his end.

But duality cannot be denied. Just as Varma drops the curtain on this first story, showing Ravi happy, complacent in his spotless khadi, and “abolishing” goondaism in the state—the ghost of violence reappears in the form of a new warrior (an immediately arresting Surya) emerging in an epilogue that gives us a glimpse at the second part of Rakht Charitra. This is a character who promises to resurrect a history that has been almost wholly divested by the end of the first film, turning the world back to its blood-soaked roots. The question at the end of the first film is how Varma might reconfigure things in the second part of his overall work—especially as Ravi becomes, by the end of the first passage, fully absorbed into the very power structure he so memorably fought against.

The second chapter does keep the promise of that epilogue alive—opening with a grand, literally explosive act of violence in a failed attempt on Ravi’s life, perpetrated by the vengeful Surya (playing a character also named Surya) who represents yet another son borne of violence—one who is unseen in the first chapter’s central events but who (as it is explained to us) is the mourning, furious offspring of the Chief Minister that Ravi murdered in the first film. Rakht Charitra 2 is a two hour film, though most of this time could possibly be accounted for in slow motion sequences that sometimes work wonderfully (as in a courtroom assassination set piece that is very well choreographed) but mostly seem to exist as a way for Varma to stretch out the final movement in the full-circle-turn that this film represents. There aren’t many new lessons to learn in Rakht Charitra 2 that we can’t see coming towards the end of the first part of the series, but what’s interesting about the second chapter is how much more of a presence Varma as a director becomes once most of the “story” has been exhausted. With nothing incredibly new to offer in terms of where the narrative is headed, (even if one doesn’t know the actual history here, it’s easy to guess what Surya does, what becomes of Ravi and how everything ends here—down to Surya assuming khadi at the end) Varma seems to concentrate on his aesthetic approach with a fury and a characteristic nuttiness that has been plaguing his movies for some time. There are moments where the results are very special—usually an action sequence, as with the aforementioned courtroom scene or another moment when Surya takes on several men in a shirtless prison knife fight that might make Cronenberg smile. But then there are ordinary, quiet moments that are so bizarrely shot and scored, that it’s clear that Varma’s poking fun at his audience and, unfortunately, undercutting the impact of what are otherwise some truly memorable performances.

And it’s not just his deliberately kooky framing or the sense that the camera is dangling at the end of a pendulum, it’s also the way he’s laid the narrative out in the second part. The first chapter of Rakht Charitra had a linear narrative that kept hurtling ahead and twisting along in its plot in a way that kept the audience on its toes. The second part—with its focus shifted away from Ravi, and onto a new “revolutionary”—has a fragmented story structure that ducks and weaves between past and present events in a way that doesn’t build up much momentum, and relies on the very gifted star at the center to be iconic enough to make up for the lack of story, while remaining a strong, sympathetic emotional anchor. Surya cuts as striking a figure as he always has, and he serves Varma’s narrative well, but what Rakht Charirta 2 asks us is to take the Surya of the first film—Ravi—and essentially shift him into the vacuum left in Bukka Reddy’s wake. This is a near impossible task for obvious reasons. There is, then, a sense that we are going through the motions here and in a watered down way, so that the only novelty is the aesthetic approach, which is the true contrast between both chapters. The two “RCs” basically tell the same story but they tell them very differently. There are two Varmas at play here—a meta-move for a film that’s all about duality in character, morality and politics. These two Varmas are not new—we’ve encountered both of them before, across the man’s rollercoaster career. The dynamic between both chapters of Rakht Charitra is not unlike the tug of war between a filmmaker who can tell a fluent, engaging story with a realist’s eye for detail and nuance, and the “bloodthirsty,” intense, wily hack who over-directs his films into the ground. There are moments in the first chapter of Rakht Charitra where he seems to come close to striking a balance, but the second film is evidence of this filmmaker’s Mr. Hyde persona taking over yet again. In absorbing the full breadth of his vision in this ambitious, flawed series, one finally gets the sense that Varma is experimenting here with what he and his audiences look for, enjoy and despise as filmgoers. How one responds to these films—to each of them— has entirely to do with what one desires and what one needs in seeing just about any movie.

32 Responses to “GF on Rakht Charitra (1 & 2)”

  1. Wow, the long awaited piece arrives! Will get to this later. Thanks.


  2. Just read it! It’s a beautifully penned essay by GF. I just hope I one day get the opportunity to see the film.


  3. excellent analysis of every scene thread bare.previously in vijaya magazine, there used to be a reviewer of your calibre.keep it up.


  4. OMG! the thesis on RC is here.. had waited for it… GF.

    read the first para.. but i guess its a couplet piece on both parts, so would go thru first movie and then read it, as i saw second part yesterday, and i was impressed by what i saw


  5. Re.-he is ultimately murdered by a group of men disguised in burqa—important not only for its sexual subtext but also for its religious meaning because in a universe in which the Hindu gods “appreciate” and even reward violence, it can only be emissaries of another, “polar-opposite” faith that brings this universes’ greatest monster to his end.

    Disagree totally !!! Burqa has always been used in the movies to hide, trying to reach these kind of conclusion is blasphemy IMO
    PS- hope and wish for Q to step in here …………..


    • Whoa there. Take a breath sir, lol. Not saying this is how it MUST be interpreted, just a thought that occurred to me, given how Hindu iconography has been put to use in some of the gory scenes here, (just take a look at the frame above with Bukka smashing a coconut over a man’s head in front of the Kali statue as one example) I found the burqa that much more meaningful. It’s obviously been used in countless movies as a disguise, but here, at least in my viewing there was something interesting and subversive at play not only from a religious standpoint but also in terms of gender.


    • I understand that it is your interpretation, I just wanted to register my protest ! LOL


    • In Indian commercial cinema the burqa has concealed men more often than women! In a related vein check out a Pakistani film called Hell’s Ground (available on Netflix) which has a serial killer (male) operating under a burqa! Given some of the contexts of Pakistan I found this rather interesting. of course the film is otherwise frighteningly pedestrian.


  6. Other than above, yet to see part 2, also I agree that Ashish Vidyathi was under utilized and agree on Vivek’s acting.
    As for Buqqa , IMO there was an overdose of his cruelty, RGV used both – voice over as well as visuals to show how cruel he his whereas , lot of voice over and less of visuals would have worked better.


    • I found the voice-over work more horrifying than the violence!


    • That is what I meant that , whatever the narrator was saying RGV was actually showing those acts which was gross. he could have done away with the gross visual depiction during the voice over.


  7. masterpraz Says:

    Wow, I’m in envy as much as I’m in awe….what a truly amazing piece here GF….I loved both the RC series and I’m glad to see such a passionate piece on the film.

    As a film it’s truly RGV’s most accomplished film since COMPANY, RANN had a lot of potential but not all of it translated though I loved the movie a lot. I also hold the SARKAR series and NISHABD in high regard, but with RC he captures a cycle of violence like no other.

    Glad you enjoyed that courtroom sequence, it’s just brilliant, and yes, in Abhimanyu Singh we’ve found the greatest villain of the decade!

    I’m also curious to see how Anurag Kashyap handles a 2 part film with GANGS OF WASSEYPUR with Manoj Bajpai….


  8. I think I enjoyed Part 2 more than you. Actually IMO it was better than Part 1.
    Where Part 1 was battle of arms, part 2 was more like a battle of minds.
    Vivek was much more restrained and better than Surya.This was my first movie of Surya and except for the after the TV bomb scene I did not think much of his acting skills ( what do I know however) I agree with the Court room shooting and the fight in the prision to be the highlight of the movie, but Vivek breaking down in front of his wife on the stairs was the scene which touched me the most.

    as for
    but what Rakht Charirta 2 asks us is to take the Surya of the first film—Ravi—and essentially shift him into the vacuum left in Bukka Reddy’s wake.
    I don’t think that was the intention RGV had in his mind- he actually had Vivek confess that he did not order the TV bombing and had him go and extend the hand of peace to Surya.

    The one Grossly under utilized chracter in this movie was Sudeep . He wa simply brilliant. I quit smoking long back. The only two times I wished I had not quit was – onve Devegan in Company and now Sudeep In RC2.


    • “Where Part 1 was battle of arms, part 2 was more like a battle of minds.”

      Ostensibly this might be the case (though I don’t believe it to be the case – both parts are really about physical battles dramatizing spiritual/political wars) but I found the physical battles of the first part, first of all, far more meaningful and made more of an impact – probably because it was more repugnant and more well-stylized. The second part of Rakht Charitra, as I tried to get across in my piece, (maybe unsuccessfully) is all about overblown technique. The first part just had far more “story” to it.

      Above all, I disagree on Vivek. He was so much better in the first part and it’s because of two things. One is the obvious – he had more screen time and more of a part in the first chapter. The second reason is the character arc (the Michael Corleone story that RGV is so enamored with) that Vivek has in the first part and that he thoroughly delivers on. I did like Vivek just fine in the second part, and I prefer the cutthroat Ravi to the early Michael Corleone part he played in the first chapter but he frankly had little to no room to do much in RC-2. And that’s a shame because that character could have been expanded on, been more central to the events of the second chapter. But this of course would have worked poorly for RGV’s goals- which is to make essentially the same movie twice, with the second pass getting a different hero and the old hero becoming the new villain – which is all I meant when I said we are asked to make Ravi the new Bukka. Of course I didn’t and don’t meant this literally. It’s just that in the context of the story, Ravi becomes the new face of evil, (at least according to the new protagonist) although the point is that everything in the first part should inform the moral and ethical universe of the second chapter. So Ravi can be every bit as evil to Surya, as Bukka was to Ravi. The “audience” of course knows better.

      But coming to Surya I think he’s just flat out better than Vivek in general terms although here I can understand how one might underestimate his work because he’s really playing into the overwrought RGV universe, which I found to be in greater evidence in this second part. All that glaring and moaning and yelling. I personally think Surya did fine but Vivek’s “restraint” I think had more to do with having a nothing part than “outacting” his (IMO) more gifted counterpart.


    • Fair points – Taopic Over ! LOL!!
      These words coming out of Shivaji rao’s Secretary’s mouth was the only comedy in the movie.
      Shatru was horrible in the movie.
      a glaring loopholes in my view-
      there are refrences to the media but nothing substantial happens to Vivek ( in terms of political pressure) despite- Court room shoot out /jail fight and the failed assasination attempt.
      Sivaji rao callls him to his house in full media glare which is unrealistic also his conversation Siva ji has with vivek are drowned in the music , I would have loved to hear that.)


  9. Satyam – great posters , loving them !!


    • thanks Rocky.. changed them after quite sometime.


      • Dus Numbari used to be my fav film.

        has anyone seen Jhootha hee Sahee ?
        vey stupid movie but there is one scene in the movie at a chinese restaurant where the herione yells at the waiter which was very well done .
        she even says – I am glad I yelled at him because normally I yell in my head After the fact.
        I pesonally have done that a lot of times my self.


  10. I still remeber as a kid going out of the galee and looking whether the posters changed or not.


  11. 10 Questions
    Ram Gopal Varma
    On his new target—a zero-budget Telugu film, Dhongala Mutha, in five days
    Madhavi Tata

    After Rakta Charitra, you’re back in the news with a zero-budget Telugu film.

    I’m making Dongala Mutha with Ravi Teja and Charmee and a total cast of 10, a crew of five, including me. No one’s charging a fee. If the film does well, they’ll get a take in the profits.

    When will the film be released?

    We’ll finish shooting in five days starting February 9 and it will be released 20 days after shooting. New cameras and technology these days allow one to do away with large units.

    You have directed another Telugu film, Katha, after a long gap.

    Yes. It’s a spoof on the Telugu film industry.

    Are you moving back to Telugu filmdom?

    It’s not that way. Some of my scripts need the larger catchment area of Bollywood. But some suit Telugu films.

    What are your next Hindi and Telugu films?

    I have Department with Abhishek, Amitabh Bachchan and Sanjay Dutt and also a 3-D adventure film. In Telugu, I have Bejawada Rowdilu, a movie on the gang war culture in Vijayawada.

    You’re a major fan of Sridevi and said you couldn’t take it when you saw her as a housewife serving tea.

    Yes, I couldn’t bear that dent to the image I have of Sridevi. Please read my blog.

    What movies do you watch?

    Mostly foreign films. All my movies are copies of Hollywood, some of them pretty trashy copies. All filmmakers copy from Hollywood.

    There are rumours of the underworld funding your films.

    I have UTV, Reliance and Religare. I don’t need the underworld.

    Much is made of your rift with Karan Johar.

    We just keep poking fun at each other on Twitter and enjoy the media hype.

    Any more horror films in the making?

    I’m working on a script but I don’t plan my life that far ahead.


    • Bhalo_Manush Says:

      “Mostly foreign films. All my movies are copies of Hollywood, some of them pretty trashy copies. All filmmakers copy from Hollywood.”

      hahaha…Ramu’s interviews are always a pleasure to read…


  12. This is an astonishingly good piece GF and one that I think cannot be bettered. To say that it deserves rereads would be to indulge in understatement. There is an extraordinary mine of insights here impossible to absorb in one read. I think I would agree with just about everything here. I would perhaps be a bit kinder on the second part only in this sense — unusually for RGV this is the first film of his where the ethical really takes center-stage. In Satya and Company you still had a sort of half-masala universe with its implied romanticism but without its sense of cosmic justice. In the Sarkar films the move toward gesturality that was already evident in some ways in the Malik character in company reaches its logic conclusion. The ethical seems completely absent from this world partly because RGV in an ultimate Bachchan homage puts up a perfect correspondence between the actions of the ‘Sarkar’ and any notion of ‘justice’. The two seem self-evidently intertwined. The Bachchan signature allows him to develop this extraordinary ‘conceit’. What Amitabh Bachchan does ‘must’ be just. The audience does not only assume this but also has the benefit of relying on an entire screen history. In the second Sarkar the nihilism comes to the fore a lot more. In a sense the Rakta Charitra films also make Sarkar Raj more comprehensible. I’d suggested earlier that Abhishek’s death in the second film though absurd in terms of the logic of the signature made for a great twist within the film and fed the nihilism of that universe. This later film at any rate is a real ‘heart of darkness’ vision and Shankar seems already ‘lost’ when the film opens. He has become the ‘darkness’ in a very profound sense. The film though refuses to engage the ethical in any more overt fashion. with the second Rakta Charitra film this finally happens. The first one is still designed a bit like a very twisted fairy tale or fable with that half-creepy voice over guiding the narrative (and of course echoing the epic narrator of the Mahabharata). Here too there is the idea (already implied in the second Sarkar film) about the cycle of violence being interminable. Whether you’re Bukka or Ravi you’re equally part of the cycle. The second more reflective film though offers a serious meditation on this subject. You’re quite right to suggest that it perhaps refracts the first film a different way. But also ‘repeats’ the lesson. By the end we know that the Surya character will also be another Ravi and he too will probably meet the same fate. Ravi is distinctive in the world of that film because it is only he who tries to break out of that cycle and while he cannot exit it the consciousness is perhaps everything and is certainly more than RGV has allowed any other major character of his to have. But yes this also makes the film somewhat more ‘regular’ even if (and again I agree with you) at a formalist level this film too is a triumph in so many ways.

    I saw the first film twice, the second once but I am certain I will be revisiting both films again. The first especially makes for an addictive watch. The double film is to my mind one of the very important contemporary films out of Bombay. And again it offers significant contrasts with the world of the Sarkar films much as those did with Satya/Company universe. There is a movement here for sure and RGV offers, certainly for me, a certain thinking of the ethical stakes that was absent from the Sarkar films. I still remain most intrigued by the second Sarkar film within this entire body of work but there both ‘Bachchan’ films also had a sense of the unfinished and the unresolved. The current double film seems more fully realized than anything he’s done since Company. Here too you are right.

    And again there is an enormous bit to chew on in your piece. I shall keep returning to this thread from time to time! No one should miss out on these films though.


    • Thank you for your very kind and incredibly thoughtful note, Satyam. Much to chew on from your own note here. I’m so glad you finally saw this and that you liked it as much as I did. I really do want to revisit it at some point, and it remains one of the real accomplishments in the last several years in Hindi cinema.


  13. GF & Rocky.. interesting discussion above..


  14. Re.-Ravi is distinctive in the world of that film because it is only he who tries to break out of that cycle and while he cannot exit it the consciousness is perhaps everything and is certainly more than RGV has allowed any other major character of his to have

    great obsevation and I like the way you put it.


  15. Finally saw the two movies and read the GF piece. The movies were fascinating and GF’s piece is equally good but I would agree with Rocky in that I found part 2 more interesting and engaging than the at times mindless and undending violence of part 1.


  16. RGV goes from Aag to Ayodhya

    Varma will film his modern day interpretation of the epic in Telugu, Hindi version to follow soon

    Amrapali Sharma

    Posted On Tuesday, November 22, 2011 at 02:20:27 AM

    Ram Gopal Varma’s interpretation of a classic in the past, Sholay to be precise, was not his brightest brain wave. The filmmaker, however, seems to be only learning from his mistakes. Having created RGV Ki Aag (the Varma version of Sholay) in 2007, the filmmaker will now create his version of the Ramayana in Telugu.

    Confirming the news, Ram Gopal Varma told Mumbai Mirror, “My version of the Ramayana will be a modern day interpretation of the epic. It is my imagination of what would have happened if the mythological characters existed in 2011.”

    All set to direct the film himself, Ramu has even decided to cast the biggest stars of Telugu cinema for his opus. Situated in Andhra Pradesh, circa 2011, the film will be based on a war between two big corporates. “It is the story of Dasharath Rao who heads Ayodhya group of companies. He is married to Kaushalya. On a business trip, he meets a woman named Kaikeyi Agarwal and ends up marrying her,” revealed Ramu about the storyline of his next big venture.

    “Dasharath Rao promises his second wife Kaikeyi that he will hand over his business to her son Bharat Kumar and not Ram Shankar, his son from the first wife. He asks Ram to head a sick unit situated far away. Ram’s brother Lakshman Shankar follows him,” added the filmmaker.

    And the story gets better with the rivals of Ayodhya group entering the scene. Lanka group of companies headed by Raavan Raju creates problems for Dasharath’s family. Raavan has a brother Bheeshan Raju and a sister Shoorapauna. Shoorapauna is a party animal and a drug addict.

    While the character names and the plot would appear comic to many, Ramu himself denied making a parody of the religious text. “Unlike the speculations, my film is not going to be a comedy or a parody. It will be a very serious family thriller on the lines of Sarkar. It will first be made in Telugu and then in Hindi,” said the filmmaker. Ramu even assured that with this film he would make sure no religious sentiments are hurt.

    A source close to the filmmaker told us, “Ramu recently saw the Telugu film Shri Ram Rajyam Prabhu Dev. That’s when the idea of making a modern day version of the epic struck him. He is currently filming Bejawada in Hyderabad. After this he will decide on the cast for RGV Ki Ramayana. The Hindi version will in fact be rather interesting.”


  17. RGV to be questioned by CID for Rakht Charitra
    By Bollywood Hungama News Network,May 08, 2012 – 02:08 hrs IST

    Ram Gopal Varma’s Rakht Charitra was by far one of the most gruesome displays of reality. Well, the film which didn’t quite click at the Box Office when it released in 2010 has landed in trouble again. RGV is likely to be questioned by the Andhra Pradesh detective department (CID) about the apparent support he got from Bhanu Kiran for the film. Kiran is the prime accused in the murder of gangster Gangula Suryanarayana Reddy alias Suri.

    The reason behind this apparent questioning is that according to CID sources, Bhanu confessed to having financed Rakht Charitra which was based on the Rayalaseema faction killings and Telugu Desam Party’s Paritala Ravi. The police had already questioned the producer, C Kalyan, soon after Suri’s murder last year.


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