Sreeleela and Balakrishna in director Anil Ravipudi’s Telugu movie ‘Bhagavanth Kesari’
Anil Ravipudi, who has written and directed Bhagavanth Kesari, had acknowledged 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. Sure, there is an try to not tread a path just like Balakrisna’s latest movies. Anil Ravipudi provides 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 fashion Balakrishna reiterates, ‘I don’t care’ (the movie’s tagline) and delivers extra punchlines than one can maintain monitor of. At the identical time, there is a heavy dose of ladies empowerment message hammered via the character performed by Sreeleela. Thankfully the 22 yr outdated isn’t solid as Balakrishna’s romantic curiosity and will get a considerable half. Anil additionally does away with duets between Balakrishna and Kajal Aggarwal. But, is all this sufficient?
Bhagavanth Kesari (Telugu)
Cast: Balakrishna, Kajal Aggarwal, Sreeleela, Arjun Rampal
Direction: Anil Ravipudi
Music: S Thaman
Storyline: Bhagavanth Kesari has unfinished enterprise with an outdated foe and is additionally tasked with elevating a younger woman and making her robust sufficient to affix the Indian Army.
In the movie that runs for 164 minutes, Anil spends substantial time establishing the world of Bhagavanth Kesari. The story follows a predictable trajectory. We know from the second he is 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. Acutely conscious of the star he is coping with, Anil Ravipudi reminds us repeatedly that NBK is no bizarre 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 develop into steely sufficient to affix the Indian Army.
Several one-note characters are peppered all through the narrative. We hear at least three males in numerous age teams asserting that girls ought to follow marriage, house and youngsters and never take up bodily difficult duties. A voice of purpose is the psychologist Katyayani (Kajal Aggarwal) whose character is poorly sketched, and it is robust to take her critically. Much of the pop psychology she doles out wouldn’t lower it in actual life.
As although 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 fascinating and tries to woo him. At one level, he refers to her as ‘aunty’ since she is 30 plus. This is supposedly a joke and plenty of within the cinema corridor cheered, unmindful of the irony. Another section that unfolds in a police station is additionally full of vile humour and units the stage for the male saviour to flex his muscular tissues.
In instances like these, I questioned 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 outdated story of revenge. Rampal’s is not too totally different from the cardboardish villain characters for which Telugu cinema casts widespread 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 by which Balakrishna stays invincible and unleashes extra punch dialogues. Sometimes he simply wants a metal bucket to tackle a gang of goondas. At different instances he would possibly drive a lorry right into a harbour or a bus right into a palatial mansion. Anything is doable. But it additionally will get tiresome. There is a sliver of enjoyable in reference to a heavy gun, just like the one utilized in a couple of latest Tamil blockbusters, and Balakrishna stating that his viewers would need extra ‘sound’ and goes blazing all weapons.
Towards 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 probably the most substantial half within the movie subsequent to Balakrishna, makes the best of it.
Bhagavanth Kesari locations Balakrishna in a much less noisy setting than his latest movies and offers him the area to discover the emotional father-daughter bond. It additionally exhibits that he is self-aware when he sings a couple of strains of a track, as a reference to a viral Instagram meme, and declares that he doesn’t care. For those that suppose these small deviations are sufficient, the movie is a win. For the remaining, there are different selections.
