Instead of being about two selfish men with different backgrounds and baggage, Bhimla Nayak wants to focus on one man and in turn loses most of his emotional tension and social comments.
Bhimla Nayak is not Ayappanum Koshium. What did Ayappanum Koshium relevant and interesting characters, and what they tell about the world at large. Saagar Chandra, the film’s director, and Trivikram, who wrote the script and dialogues, are simply not interested in either the form or the subtext of the original. They just take the opportunity provided by the source material to create a stellar car. As a result, you may lose some of the things that made the original great, but you will also get a simpler and positively slimmer movie.
Having said that, what makes a regular template interesting is how the overall plot is used to make something interesting. Stories about men with giant egos and destructive instincts are as old as time. But let someone like Cauchy / Daniel snuggle in front of your father and you’ll get a layer that you can then peel off in your spare time. Here we barely get to the dynamics between Daniel Shekar (Rana) and his aggressive father, played just as well as Samutirakani is written. The few random scenes between them are so reluctant that they barely convey their intent.
Same with how women write. Suguna Niti Menen is very interesting to watch. A cheeky lady who just doesn’t match her husband but surpasses him is subversive enough for a commercial film. But if it means she’s just going to remain a stereotype of a loud woman – I don’t even know what she’s doing in the hospital – or will be used as a storyline like Daniel’s “tribal” wife, then that’s a disappointment. Again, the original also leaves much to be desired when it comes to female characters. But it at least gives us scenes like the confrontation between Cauchy and Kanama, as well as a scene that transforms Jesse / Harry from a simple scapegoat into a three-dimensional character; both are missing here.
To his credit, Trivikram is trying to preserve the mythical aura of the original and not just because he likes to have his characters called “Themselves”. He is very good at weaving mythology around his main characters. They may recur, but they are effective. Here he also rewrites the flashback to add to the consideration of some good old stellar forces, but he also successfully reshapes it to tie the vague ends. I also liked the light banter that happens at the end. Again, it’s not creatively exciting, but it serves its purpose. So with dialogue. Do we need a detailed analogy involving Ghazni? The film doesn’t need it. Bhimla Nayak no need. But Pavan Kalyan does. For some reason, he believes that the best way to communicate with his fans and political supporters is a chaotic dialogue that has nothing to do with the film. To each his own, I suppose.
Speaking of which, Pavan Kalyan is very lacking in the importance needed to play a character like Bhimla. He is cheerful and full of pride, but the strength that should hold his character is never felt. Although Bhimla Nayak he spends most of his time on display – endless crying songs calling for a tiger / lion boy and people around him repeating the same thing – Kalyan feels too tamed. I imagine his fans look at him and see Biju Menon, but for the rest he is not the evil man we have seen Yalsawho can plausibly plant a sword in the ground. Rana, on the other hand, has a lot of fun playing Daniel. Even if the film does not give his character space to explore all aspects of his personality, he plays well this arrogant man who cannot afford to express doubts.
Directed by Saagar Chandra leaves much to be desired, as if he is trying to make the film his own, but Bhimla Nayak still a technically sound film. Ravi K. Chandran’s cinematography is not just aerial footage of snake roads. It enlivens many scenes with excellent lighting choices and dynamic camera movements – especially the final confrontation. Editing News Zeros, as always, is well done. But Taman may just be the film’s biggest asset. As a person who is constantly annoyed by annoying background recordings, I am pleasantly surprised at how the score complements the story and enlivens it.
Not many things reveal the director’s intentions as accurately as the film’s title. When you see the words “Pavan Kalyan in and how” before the title of the film in the captions, you clearly understand the intentions of the film. Instead of being about two selfish men with different backgrounds and baggage, he wants to focus on one person. So he loses most of his emotional load and social commentary, which is a relief because the idea of representation in the film seems to be in the clothes of a tribal woman Amarapali jewelry, but retains its habit that still seeks the majority of the film’s target audience. But despite all the hints, if you expected something more, you will be disappointed and, frankly, only you will be to blame.
Rating: 3 out of 5
Sankerton Warma, an engineer who took several years to realize that combining two wonderful things, film and writing, is as great as it sounds. He mainly writes about Telugu movies.
A frivolous but hilarious stellar car to choose from the original Entertainment News, Firstpost
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