‘Bhagavanth Kesari’ film evaluation: Anil Ravipudi, Balakrishna outing is mediocre at its finest


Sreeleela and Balakrishna in director Anil Ravipudi’s Telugu film ‘Bhagavanth Kesari’

Anil Ravipudi, who has written and directed Bhagavanth Kesari, had said in a couple of pre-release interviews that, in his first collaboration with Nandamuri Balakrishna, he has tried to make a movie that won’t restrict itself to interesting to the star’s fanbase. Positive, there may be an try to not tread a path just like Balakrisna’s current movies. Anil Ravipudi offers Balakrishna one thing new to play with by making him an adavi bidda (son of the forest) talking the Telangana Telugu dialect, with a smattering of Hindi. In his typical model Balakrishna reiterates, ‘I don’t care’ (the movie’s tagline) and delivers extra punchlines than one can maintain monitor of. On the similar time, there’s a heavy dose of girls empowerment message hammered by the character performed by Sreeleela. Fortunately the 22 yr previous isn’t forged as Balakrishna’s romantic curiosity and will get a considerable half. Anil additionally does away with duets between Balakrishna and Kajal Aggarwal. However, is all this sufficient?

Bhagavanth Kesari (Telugu)

Forged: Balakrishna, Kajal Aggarwal, Sreeleela, Arjun Rampal

Course: Anil Ravipudi

Music: S Thaman

Storyline: Bhagavanth Kesari has unfinished enterprise with an previous foe and can also be tasked with elevating a younger woman and making her robust sufficient to hitch the Indian Military.

Within the movie that runs for 164 minutes, Anil spends substantial time organising the world of Bhagavanth Kesari. The story follows a predictable trajectory. We all know from the second he’s launched in jail that he has a previous and an unfinished enterprise. The second we see Sarath Kumar as a police officer and his younger daughter, we all know what to anticipate. After a flip of occasions, the onus of defending the woman as a father determine falls on Nelakonda Bhagavanth Kesari aka NBK aka Nandamuri Balakrishna. Aware of the star he’s coping with, Anil Ravipudi reminds us again and again that NBK isn’t any unusual title. 

The bond between Kesari and Vijayalakshmi (who grows as much as be Sreeleela), who considers him a superman, turns into the crux of the drama. The woman has anxiousness points and Kesari, or chicha as she calls him, tries to instil braveness in her to change into steely sufficient to hitch the Indian Military. 

A number of one-note characters are peppered all through the narrative. We hear not less than three males in several age teams asserting that girls ought to keep on with marriage, residence and kids and never take up bodily difficult duties. A voice of cause is the psychologist Katyayani (Kajal Aggarwal) whose character is poorly sketched, and it’s powerful to take her severely. A lot of the pop psychology she doles out wouldn’t lower it in actual life. 

As if to make up for the shortage of comedian segments, the narrative weaves in inane jokes round how Katyayani finds Kesari’s salt and pepper persona attention-grabbing and tries to woo him. At one level, he refers to her as ‘aunty’ since she is 30 plus. That is supposedly a joke and plenty of within the cinema corridor cheered, unmindful of the irony. One other phase that unfolds in a police station can also be filled with vile humour and units the stage for the male saviour to flex his muscular tissues.

In occasions like these, I puzzled what’s the purpose of all that girls empowerment message when the movie couldn’t keep away from such writing. 

Parallel to the father-daughter story is the monitor involving enterprise tycoon Rahul Sanghvi (Arjun Rampal) who talks in regards to the legislation of nature aka Darwin’s concept of survival of the fittest. As anticipated, the father-daughter story and that of Kesari-Rahul merge to revive an previous story of revenge. Rampal’s will not be too totally different from the cardboardish villain characters for which Telugu cinema casts common names from Hindi cinema. Rampal having dubbed in Telugu makes it barely higher. 

The long-drawn motion drama packs in a handful of motion sequences during which Balakrishna stays invincible and unleashes extra punch dialogues. Generally he simply wants a metal bucket to tackle a gang of goondas. At different occasions he may drive a lorry right into a harbour or a bus right into a palatial mansion. Something is feasible. However it additionally will get tiresome. There’s a sliver of enjoyable in reference to a heavy gun, just like the one utilized in a couple of current Tamil blockbusters, and Balakrishna stating that his viewers would need extra ‘sound’ and goes blazing all weapons.

In direction of the fag finish, the movie decides that it’s time to deviate from the male saviour complicated for a couple of minutes. Sreeleela, who will get essentially the most substantial half within the movie subsequent to Balakrishna, makes the very best of it.

Bhagavanth Kesari locations Balakrishna in a much less noisy setting than his current movies and offers him the area to discover the emotional father-daughter bond. It additionally reveals that he’s self-aware when he sings a couple of traces of a track, as a reference to a viral Instagram meme, and declares that he doesn’t care. For many who assume these small deviations are sufficient, the movie is a win. For the remaining, there are different decisions.



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